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Romanticism

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Romanticism 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, clandestine literature, Paganism, idealization of nature, suspicion of science and industrialization, and glorification of the past with a strong preference for the medieval rather than the classical.

It was partly a reaction to the Industrial Revolution, the social and political norms of the Age of Enlightenment, and the scientific rationalization of nature. Romanticism was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography, education, chess, social sciences, and the natural sciences.

Philosophical Beliefs edit

Blue Flower edit

The blue flower, or Blaue Blume in German, was a key symbol in the Romanticism movement and remains significant in Western art today. It represents desire, love, and the pursuit of the infinite and unattainable. It symbolizes hope and the beauty found in things.

The blue flower is seen as a sacred symbol of the Romantic school, representing the deep longings of a poet's soul. It embodies a sense of longing, a connection to the infinite, and a dissatisfaction with worldly happiness. Thomas Carlyle described it as Poetry, the true object of young Heinrich's passion and calling, which he seeks amidst various adventures and trials.

Genius edit

The idea of genius in literary theory originated in the late 18th century when it was distinguished from ingenium in discussions about the "spirit of the place." It was believed that each place had its own unique nature that influenced everyone there. In early nationalist literary theories, each nation was thought to have a nature determined by its climate, air, and fauna, shaping its poetry, manners, and art, forming its national character.

T. V. F. Brogan suggests that "genius" is a middle term between the belief in external sources of inspiration like divine infection and internal sources like imagination. Over time, "genius" became closely associated with poetic and divine madness in Romanticism. The word itself was linked with natural ability during the Renaissance, becoming a unique natural spirit derived from an individual's place. In this sense, it remains synonymous with skill.

Edward Young's Conjectures on Original Composition (1759) reshaped "genius" to align more with the Romantic idea of a seer or visionary. This influenced German theorists of Sturm und Drang, who in turn influenced Samuel Taylor Coleridge. Romantics viewed genius as superior to mere skill, as something beyond ordinary ability. The emphasis on Gothic literature and the sublime, and the poet as the voice of a nation's consciousness, allowed the decline of the "genius" as a natural spirit of place and its rise as an inherent and irrational ability to coincide.

With Sigmund Freud's theories on poetic madness and the irrationality of imagination, "genius" in poetry came to be seen in the 20th century as inherent in the writer. The writer was seen as unique and set apart by "genius," whether it was a psychic wound or a particular aspect of the ego. Irving Babbitt's writings explored the Modernist view of genius as something above skill, inexplicable and unique to the individual.

Since the decline of Modernism, "genius" has become less prominent in critical discussions. Writing has focused more on its own medium, and writers on their processes, leading to a decline in the belief that artists possess a special trait making them superior. However, in certain contemporary literary circles, there's a renewed interest in the concept of genius, often defined in contrast to critics, with the former seen as more independent and spontaneous, and the latter as more self-reflective but limited to responding to existing cultural artifacts. Gotthold Ephraim Lessing's commentary on Immanuel Kant's notion of genius offers an early version of this idea, suggesting that genius demonstrates autonomy by deriving rules from itself.

Gothic Fiction edit

Gothic fiction, also known as Gothic horror, is a style of literature that evokes fear and haunting. It gets its name from the Gothic architecture of the Middle Ages, seen in early Gothic novels. Gothic fiction creates an atmosphere of fear, often with supernatural events and the past affecting the present. It uses settings like ruined buildings, castles, and religious structures to show decay. Typical plot elements include persecution, imprisonment, and murder, and often have complex structures, with multiple narratives and mysterious elements like doubles and hidden family connections. They may include dreams and surreal landscapes. In the late 19th century, demons, ghosts, and evil spirits became common in Gothic fiction.

Gothic literature is closely linked with Gothic Revival architecture. English Gothic writers connected medieval buildings with a dark and frightening era characterized by harsh laws and strange rituals. Like the Gothic Revivalists' rejection of Neoclassical style, Gothic literature appreciates extreme emotions, fear, and awe. Gothic ruins evoke mixed feelings, symbolizing decay and human creations' collapse. Placing a story in a Gothic building creates a sense of awe, suggests a historical setting, isolation, and religious themes. Gothic castles often symbolize darkness and secrets, reflecting the characters and events of the story. For example, in The Castle of Otranto, the buildings' tunnels mirror the secrets surrounding the castle's ownership.

Historical Fiction edit

Historical fiction is a genre where fictional stories are set against real historical events. It's not just limited to books but includes plays, movies, TV shows, video games, and graphic novels. This genre often uses symbols and metaphors to tell stories.

Key to historical fiction is its setting in the past, paying attention to details like social customs and conditions of that time. Authors may also include famous historical figures, showing how they might have reacted in their era. Historical romance tends to idealize past eras, while subgenres like alternate history and historical fantasy add speculative elements.

Mal du siècle edit

Mal du siècle, which means "sickness of the century" in French, refers to the feelings of ennui, disillusionment, and melancholy experienced by many young adults in early 19th-century Europe, particularly during the rise of the Romantic movement. François-René de Chateaubriand's character René embodies this Romantic ennui, which became a defining feature of the Romantic aesthetic in the first half of the century.

René, the protagonist, represents a young man afflicted by the moral malaise known as "le mal du siècle." This condition, common during the era, was often depicted and idealized in literature. It was characterized by feelings of boredom, aristocratic melancholy, premature apathy, and a lack of faith and duty. René's experience of this pessimistic state is analyzed with depth and insight by Chateaubriand, who considered it his masterpiece.

While Chateaubriand first identified this "illness," it was Alfred de Musset who popularized the concept further in his work "Confession of a Child of the Century." Musset attributed the malady to the loss of Napoleon Bonaparte, a significant figure for the French nation, describing the era as a time of uncertainty and transition, symbolized by the "spirit of the century," which he likened to twilight, neither fully night nor day.

  Medievalism edit

Medievalism is a belief system and cultural movement inspired by the Middle Ages of Europe. It finds expression in various forms like architecture, literature, music, art, philosophy, and popular culture. Since the 17th century, many movements, including Romanticism, the Gothic revival, and the arts and crafts movements, have drawn inspiration from medieval times.

Romanticism, in particular, saw the Middle Ages as a source of inspiration, seeking to break away from the constraints of urbanization and industrialization. The name "Romanticism" itself comes from the medieval genre of chivalric romance. This movement led to a heightened interest in medieval themes and stories, often depicted in literature and art. Works like Ivanhoe by Walter Scott and translations of medieval epics into modern languages further popularized the medieval era's imagery and ideals.

Noble Savage edit

The noble savage is a character found in Western literature and philosophy who represents someone untouched by civilization. This figure symbolizes the belief that people living in harmony with nature possess innate goodness and moral superiority. In literature, the noble savage often serves as the main character, and the focus is on their thoughts rather than their actions.

The idea of the noble savage was popularized by writers like John Dryden and Charles Dickens, who explored themes of human nature and society. It became a recurring motif in Romantic literature, reflecting a longing for simpler, more natural ways of life. However, this notion also raises questions about Orientalism, colonialism, and exoticism, as it often involves idealizing non-Western cultures.

Historically, the noble savage concept has roots in ancient texts like Tacitus' Germania, where the Germanic tribes were portrayed as culturally superior due to their simpler way of life. In more recent centuries, figures like the Highland Scots served as examples of noble savages in British intellectual discourse, admired for their toughness and resilience despite their perceived rudeness.

  Nostalgia edit

Swiss nostalgia was linked to a type of singing called Kuhreihen, which Swiss soldiers were forbidden to do because it made them miss home too much, sometimes leading to them running away, getting sick, or even dying. According to a book from 1767 by   Jean-Jacques Rousseau, Swiss soldiers were punished harshly to stop them from singing these songs. This idea became common in Romantic literature, appearing in poems and operas. The Romantic idea of longing for the past, called nostalgia, played a big role in making people interested in Switzerland and led to early tourism there. In contrast, German Romanticism had a different idea called Fernweh, which means wanting to be far away and reflects the desire to travel and explore.

Romantic Hero edit

The Romantic hero is a character in stories who goes against society's rules, often feeling rejected by it. They focus a lot on their own thoughts rather than their actions, and they're usually the main character in a story.

Some key traits of the Romantic hero include feeling like they're outside society's norms, being strong and sometimes ruthless, but also having a deep sense of power and leadership. They often reflect on their own lives and may struggle with feelings of loneliness or sadness. Despite their rebellious nature, they might also feel regret for their actions and try to help others. These characters are often portrayed as being separate from their families and living a solitary life, but they may have a long-lasting love interest who shares their struggles. Romantic heroes were commonly seen in Gothic fiction, a popular genre in Britain and beyond.

Political Beliefs edit

  Romantic Nationalism   edit

The romantics exalted nationalism in an exacerbated way, encouraging love for one's own country and the creation of a national hero. For Europeans, these heroes are medieval knights and in Brazil they are brave and civilized Indians. Nature is also highly exalted within the nationalism of romanticism. Romantic nationalism (also called organic nationalism or identity nationalism) is a form of nationalism in which the state derives its political legitimacy as an organic consequence of the unity of the individuals it governs. This includes, depending on the particular manner of practice, the language, race, culture, religion and customs of the "nation" in its primary sense of the set of people "born" into the culture. This form of nationalism emerged as a reaction to dynastic or imperial hegemony, which proclaimed the legitimacy of the state "from the top down", emanating from the monarch or other authority, thus justifying its existence. Power "from above" could ultimately derive from one God or several gods (see Divine Right of Kings).

In Countries edit

  Brazil edit

See also: Ultra-Romanticism

Recife School edit

Recife School was the regional Romanticist school directed by Tobias Barreto. The members of the school are: Clóvis Bevilacqua, Sílvio Romero, and Joaquim Nabuco.

  Britain edit

See also:   Dark Romanticism

British Romanticism was popular in the United Kingdom.

  Ruskinism edit

Ruskinism is WIP.

  Shelleyism edit

Shelleyism is a philosophy of British romanticist poet Mary Shelley.

  Germany   edit

German Romanticism is a German movement originating from   Romanticism. It influenced various aspects like philosophy, art, literature, and criticism. Unlike English Romanticism, German Romanticism began relatively early and initially overlapped with Weimar Classicism from 1772 to 1805.

The early phase, around 1797 to 1802, is known as Frühromantik or Jena Romanticism. Key figures in this movement were Wilhelm Heinrich Wackenroder, Friedrich Wilhelm Joseph Schelling, Friedrich Schleiermacher, Karl Wilhelm Friedrich Schlegel, August Wilhelm Schlegel, Ludwig Tieck, and Friedrich von Hardenberg (Novalis). Early German Romantics aimed to blend art, philosophy, and science, seeing the Middle Ages as a time of unified culture. However, they realized this unity was fragile. Later in the movement, there was a focus on the tension between everyday life and the imaginative, supernatural creations of artistic genius. Critic Heinrich Heine criticized the early Romantics for idealizing the medieval past.

During the French occupation under Napoleon, German nationalism grew stronger, leading to the formation of the German Empire. German Romanticism became intertwined with nationalism and opposed the ideals of the French Revolution. Influential thinkers like Ernst Moritz Arndt, Johann Gottlieb Fichte, Heinrich von Kleist, and Friedrich Schleiermacher embraced conservative politics, rejecting liberalism, rationalism, neoclassicism, and cosmopolitanism.

Folklore edit

German Nationalism edit

Nationalism in Germany grew in response to Napoleon's rule. Influential thinkers like Herder and Fichte believed in Germany's deep roots and saw language and character as crucial to national identity. They called for Germans to shape their own destiny, inspiring others during the Romanticism era.

During this time, ethnic Germans lived in various countries like Austria and Prussia. Pan-Germanism aimed to unite them under one nation. The 1871 unification of Germany marked a significant moment, as nationalism gained momentum among the public.

  Hamannism edit

Hamannism is a philosophical thought of German philosopher Johann Georg Hamann.

  Herderism edit

Herderism is the philosophy of German philosopher, theologian, and poet Johann Gottfried von Herder. Herder is associated with Enlightenment, Sturm und Drang, and Weimar Classicism. He was a Romantic philosopher who argued that true German culture was to be discovered among the common people (das Volk) through folk songs, folk poetry, and folk dances, and through these means would the true spirit of the nation (der Volksgeist) be popularized.

3 Jacobianism edit

Jacobianism is the philosophy of Friedrich Heinrich Jacobi.

  Goetheanism edit

Goetheanism or Goethean Science concerns the natural philosophy (German: Naturphilosophie "philosophy of nature") of German writer Johann Wolfgang von Goethe. Although primarily known as a literary figure, Goethe also developed a   Phenomenological approach to natural history, an alternative to   Enlightenment natural science, which is still debated today among scholars.

Johann Wolfgang von Goethe, born on August 28, 1749, in Frankfurt, Germany, was a multifaceted figure whose impact extended across literature, philosophy, and science during the Romantic era. Coming from a privileged background, Goethe received a comprehensive education in languages, literature, and sciences. He pursued law at the University of Leipzig and later in Strasbourg, where he cultivated a diverse range of interests.

In the 1770s, Goethe became associated with the Sturm und Drang movement, which emphasized intense emotion and individualism. His novel, "The Sorrows of Young Werther" (1774), catapulted him to fame. This period laid the foundation for his exploration of the human psyche and emotional experiences in his later works.

Goethe spent a significant portion of his life in Weimar, serving under the Duke of Saxe-Weimar. The Weimar years, spanning from 1775 to 1786, were marked by the creation of works such as "Wilhelm Meister's Apprenticeship" and "Iphigenia in Tauris." This time in Weimar allowed him to develop and refine his literary and philosophical ideas.

One of the most transformative periods in Goethe's life was his Italian journey from 1786 to 1788. Immersed in Italian art, literature, and culture, he absorbed the influences that would shape his later masterpiece, "Faust." This journey also ignited his interest in classical aesthetics and provided a fresh perspective on life and art.

"Faust," Goethe's magnum opus, is a monumental work that reflects his profound insights into the human condition. Written over several decades, with Part I completed in 1808 and Part II published posthumously, "Faust" explores themes of ambition, knowledge, and the complexities of human existence. It stands as a pinnacle of German literature and a testament to Goethe's intellectual prowess.

Beyond his literary achievements, Goethe was a polymath with a keen interest in science. His work, "Theory of Colors," challenged Newtonian ideas on color and demonstrated his interdisciplinary approach to knowledge. This scientific curiosity coexisted with his literary endeavors, showcasing the breadth of his intellectual pursuits.

In the later years of his life, until his death on March 22, 1832, Goethe continued to write and engage in various projects. His influence transcended his literary works, leaving an indelible mark on German thought and culture.

Aesthetics edit

One central tenet of Goethe's aesthetics is the idea that art and nature are deeply intertwined. He rejected the notion that art should merely imitate nature; instead, he advocated for a more holistic understanding of the relationship between the two. In Goethe's view, the artist should not merely replicate the external features of the natural world but should strive to capture its inner essence. This emphasis on inner truth and spiritual resonance in art reflects Goethe's belief that true beauty goes beyond surface appearances.

Romanticism and Classicism edit

In his early years, Goethe was associated with the Sturm und Drang movement, a German literary movement characterized by a focus on strong emotion and individualism. This period was marked by Goethe's fascination with the subjective experience and the expression of intense feelings. The exploration of nature's symbolism and the celebration of personal passion were central themes in his early works, such as "The Sorrows of Young Werther."

However, as Goethe matured, his philosophical outlook underwent a significant transformation. He began to question the excesses of emotionalism and sought a more balanced and harmonious approach to art and life. This shift is evident in his later works, particularly in "Wilhelm Meister's Apprenticeship" and "Faust," where he embraced classical ideals of order, proportion, and restraint.

One key factor in Goethe's transition to Classicism was his engagement with ancient Greek literature and philosophy. He admired the rationality and clarity of Greek art and saw in it a model for achieving a more balanced and measured aesthetic. Goethe's travels to Italy further deepened his appreciation for classical art and architecture, influencing his belief in the importance of form and structure in artistic expression.

In his essay "Winckelmann and His Age," Goethe expressed his admiration for Johann Joachim Winckelmann, a German art historian who played a pivotal role in the revival of interest in classical art. Winckelmann's emphasis on the classical ideals of beauty and proportion resonated with Goethe's evolving views, reinforcing his commitment to a more restrained and ordered artistic vision.

Despite his alignment with Classicism, Goethe did not entirely reject Romantic elements. He sought a synthesis of both traditions, emphasizing the importance of the individual's emotional experience within the framework of classical principles. This fusion is perhaps most evident in "Faust," where Goethe masterfully combined Romantic themes of striving and yearning with classical elements of structure and form.

Goethean Science edit

Goethe embarked on his 'adventure of reason,' commencing with the "crisis" in botany, which critiqued the mere mechanical classification-taxonomy of plant life. In this pursuit, Goethe ventured into formulating a comprehensive theory about Nature itself.

His primary concern lay in the increasing specialization in science, where the emphasis on mechanically accumulating data led to a narrowing of perspective devoid of human values and developmental aspects. The Linnaean botanic taxonomic system of his era, exemplified by the Systema naturae, symbolized this trend. Goethe perceived that the practice of rational science, solely grounded in physical-material characteristics and selected external traits, resulted in epistemic impoverishment and a diminished understanding of human knowledge.

According to Goethe, what was essential was an enhanced capacity to extract meaning from vast external data by examining it from both external-sensory angles and an internal perspective. This internal viewpoint incorporated thinking, feeling, intuition, imagination, and inspiration, contributing to conclusions drawn by the experimenter.

Even in his time, Linnaean taxonomy faced criticism from figures like Comte de Buffon, who advocated replacing mechanistic classification with a study of the interrelation of natural forces and historical change.

For Goethe, the accumulation of new knowledge was inseparable from a Geschichte des Denkens und Begreifens, a history of thinking and conceptualization. Knowledge, in his view, involved association, not merely separation.

While arranging material phenomena in a logical linear sequence remained a valid scientific method, Goethe insisted on executing it under a correct and humanistic organizing idea, grounded in nature or natural law. This organizing idea often adhered to multiple, lawful pairs of polarity.

Goethe advocated that experimenters should seek the natural, lawful organizing ideas or archetypes behind specific natural phenomena. The first phase involved immersing oneself in a living interaction with the phenomena under study, utilizing all available senses. Goethe valued "the labor of experimentation."

This approach sharply contrasted with the trend in rational Natural Science to 'abandon' nature itself, opting for the formulation of an abstract hypothesis to be tested through experiments. Goethe considered this an 'artificial experience' that detached individual manifestations from the meaningful context of the whole, as exemplified by Newton's color hypothesis.

Instead, Goethe proposed that experimenters adopt a more living, humane approach, aspiring to enter into the living essence of nature as perceived in the phenomenon under study. Success, in Goethe's terms, meant penetrating to the crucial, underlying, sensorily-invisible archetype-pattern: the Ur-phänomen. The experimenter aimed to allow the phenomena to reveal its inherent order and lawfulness, often invisible but objectively existing, not subjectively constructed by the experimenter.

Goethean Science, with its alternative value system, stood apart from Cartesian-Newtonian Science. Despite its emphasis on qualities, Goethean Science remained rigorous in experimental methodology and the matter of quantification.

In his 1792 essay titled "The experiment as mediator between subject and object," Goethe articulated an innovative philosophy of science, which guided his research endeavors. The essay emphasizes his experiential perspective, asserting that "The human being himself, to the extent he makes sound use of his senses, is the most exact physical apparatus that can exist."

In contrast to the fixed Linnaean system, akin to classical physics, whose distinctions eroded at the borders, Goethe's exploration revealed an underlying order challenging the static view of nature in Linnaean taxonomy. This taxonomy relied on artificial types, selectively emphasizing certain features while neglecting others, leading to growing confusion in classifying the expanding array of plant forms. Goethe's approach not only defied this fixed perspective but also questioned the Cartesian-Newtonian method that presumed a separation between the observer and the observed.

Goethe considered such separation a hindrance, advocating for a science where both the object and subject of observation are dynamic. Goethe envisioned a science in which "not only the object of observation changes and moves but also the subject of observation." This required an approach that embraced vitality, dynamism, and interaction, rejecting the dissociative nature of traditional scientific methodologies.

The 1970s marked a turning point when mainstream scientists began to appreciate Goethe's holistic-humanistic approach to experiments. In his study on color (Farbenlehre), Goethe challenged the notion that observers could remain devoid of theoretical context, emphasizing that every act of looking becomes an act of observation and subsequently turns into mentation and associations.

Goethe believed that science's ultimate goal was twofold: the expansion of human knowledge and the transformative evolution of the experimenter. In Goethean Science, experiments serve as mediators between natural phenomena and the experimenter, revealing insights about both. Goethe's methodology emphasizes the mutual and intimate interaction of the observer and the observed, fostering inner awareness, insight, Imagination, Intuition, and Inspiration over time.

Unlike Cartesian-Newtonian science, which confines itself to practical syllogisms, Goethean Science views the practice of science as an art. It directs practitioners toward refining their perceptions, elevating them toward Imagination, Inspiration, and Intuition throughout their scientific journey.

Epistemology edit

Goethe's approach to scientific inquiry, characterized by the fusion of science and art, positions experimentation as a mediator connecting the investigator and Nature. In contrast to the Cartesian-Newtonian paradigm, which delineates the expansion of knowledge as a logical and linear progression in amassing facts, Goethean Science delineates knowledge expansion through two primary facets: 1) the observation of organic transformations in natural phenomena over time, constituting a historical progression, and 2) the organic transformation of the inner life of the experimenter.

Goethe introduced two dynamic concepts, namely polarity (elaborated in his Chromatology) and logical-linear sequence (Morphology), which exhibit broad applicability across diverse domains. Central to Goethe's perspective is the comprehension of vital nature (natura naturans), a process inherently tied to perceiving impressions and evoking responses through the Gemüt, encompassing empathy and potentially compassion. In this framework, the individual effectively 'becomes what one perceives.'

In contrast to the Kantian perspective, which segregates the realm of quantity and the thing from that of quality and phenomenon, Goethe's paradigm challenges the certainty of objectively perceiving reality. His innovative mode of thinking represents a parallel scientific order—a distinctive, holistic paradigm. This alternative framework proves valuable for transcending the cognitive barriers established by Kant, where emphasis is solely placed on utilitarian ideas and conventional scientific pursuits.

Idea of Evolution edit

In the 1790s, Johann Wolfgang von Goethe made a significant contribution to anatomical understanding by identifying the premaxilla in humans, commonly referred to as the incisive bone. He utilized this discovery as morphological evidence supporting the interconnectedness of humanity with other mammalian species.

In his work titled "Story of My Botanical Studies" (1831), Goethe eloquently expressed his observations:

"The ever-changing display of plant forms, which I have followed for so many years, awakens increasingly within me the notion: The plant forms which surround us were not all created at some given point in time and then locked into the given form, they have been given… a felicitous mobility and plasticity allowing them to grow and adapt themselves to many different conditions in many different places."

Wertherism edit

  Italy   edit

  Leopardianism edit

Leopardianism is a philosophy of Italian philosopher-poet Giacomo Leopardi

Michelstaedterianism edit

Michelstaedterianism is a philosophy of Italian philosopher Carlo Michelstaedter.

  Japan edit

Romanticism in Japan wasn't very popular, it wasn't mainstream.

  Mishimaism edit

Mishimaism is a philosophical concept of Japanese writer Yukio Mishima.

  Poland   edit

In Poland, there was some Romanticist movements and poets.

  Philomathism edit

Philomathism is a philosophy based on Philomath Society secret student organization.

  Mickiewiczism edit

Mickiewiczism, sometimes called as Teoria mickiewicziana is a beliefs based on Adam Mickiewicz, one of the Three Bards of Polish Literature.

  Portugal edit

See also: Ultra-Romanticism

  Romania edit

Pașoptism edit

Pașoptism is a first-generation of Romanian romanticism, caused by Romanian Revolution in 1848.

Junimism edit

Junimism is a movement based on Junimea.

Transylvanian School edit

Transylvanian School is a movement evolved from   Romanian Orthodoxy.

  Russia   edit

  Russian Goetheanism edit

Russian Goetheanism is a regional variant of Goetheanism.

Variants edit

  Dark Romanticism   edit

  Dark Romanticism   is a literary movement within Romanticism with a focus on the grotesque, the demonic human fallibility, self-destruction, judgement, punishment, as well as the psychological effects of guilt and sin. Dark Romanticism is often conflated with gothic literature, it has shadowed the euphoric Romantic movement ever since its 18th-century beginnings. Authors of Dark Romanticism include Edgar Allan Poe, Samuel Taylor Coleridge, Nathaniel Hawthorne, and John William Polidori.

  Gothic Romanticism edit

Gothic Romanticism is a subgenre of Romanticism that emerged in the late 18th and early 19th centuries, blending elements of Gothic literature with Romantic ideals. It is characterized by an emphasis on emotion, individualism, and the sublime, while also incorporating themes of horror, the supernatural, and dark, brooding settings.

Ultra-Romanticism edit

Ultra-Romanticism is a Brazilian-Portuguese romanticist movement and the series of Romanticist movements.

Indianism edit

Indianism is a "first-generation of Brazilian Romanticism".

Condorism edit

Condorism is a successor to the Indianism, so it's called "second-generation of Brazilian Romanticism".

Personality edit

  • Likes to imagine idealized versions of already existing civilzations
  • Heavily relies on feelings or pleasure
  • Loves poetry and nature

You form the rest.

Relationships edit

Friends edit

Frenemies edit

  •   Christianity - Though you are (usually) dogmatic and against mysticism, major religions are necessary for strong civilizations.

Enemies edit

Quotes edit

“To romanticize the world is to make us aware of the magic, mystery and wonder of the world; it is to educate the senses to see the ordinary as extraordinary, the familiar as strange, the mundane as sacred, the finite as infinite.”

  Novalis

"Reason speaks in words alone, but love has a song.”

  Joseph de Maistre

“Nature shall be the visible spirit, and spirit, invisible nature.”

  Friedrich Wilhelm Schelling

Further Information edit

  Wikipedia edit

Regional edit

Theoreticians edit

  Philomathism

Literature edit

Videos edit

References edit

  1. ↑ https://www.sosyalarastirmalar.com/abstract/romanticism-in-indian-literature-chhyvd-movement19181938-72284.html
  2. ↑ https://journals.indexcopernicus.com/api/file/viewByFileId/344981
  3. ↑ https://www.greaterkashmir.com/todays-paper/op-ed/the-worldview-through-the-lens-of-romanticism/#:~:text=Romantics%20sought%20to%20celebrate%20the%20unique%20cultural%20identity%20of%20their%20own%20nations.&text=The%20Indian%20Romantic%20movement%20was,heritage%2C%20and%20challenge%20colonial%20dominance.
  4. ↑ https://archive.org/details/romanticismnatio0000oste_q8u6/page/n9/mode/2up

Navigation edit

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