American Romanticism and Major Works in Walt Whitman and Emily Dickinson

이강하 부산외국어대학교 일반대학원 2014 국내석사

Romanticism is a complex artistic, literary and intellectual movement that originates in the second half of the 18th century in Western Europe and gains strength during the industrial revolution. It is not only partly a revolt against aristocratic social and political norms of the Age of Enlightenment but also a reaction against the scientific rationalization of nature. It is also embodied most strongly in the visual arts, music and literature. Romanticism is known as Romantic Movement and Romantic revival. It mainly emphasizes upon freedom of individual self-expression: sincerity, spontaneity and originality. Replacing the decorous imitation of classical models, Romanticism becomes a new standard in literature and is favored by eighteenth century neoclassicism. Rejecting the ordered enlightenment rationality as mechanical, impersonal and artificial, the Romantics turn to the emotional directness of personal experience and to the boundlessness of individual imagination and aspiration. The chapter one introduces British and American Romanticism Literature. Next, it analyzes the similarities and differences between two Romanticism. In the chapter two, it analyzes the main America writers of Walt Whitman and Emily Dickinson including their life, poem characters, poem styles, poem themes and so on. In doing so, it strongly evidence that the American Romantics definitely reveal their own unique characters and differ from the British Romantics.

낭만주의 해석학의 음악이해 : 슐라이어마허(F. D. E. Schleiermacher)와 딜타이(W. Dilthey)의 해석학적 철학을 중심으로

장유라 중앙대학교 대학원 2020 국내박사

If ‘romanticism’ is defined as “a yearning for perfectness that can’t be satisfied”, the 19th century best representing this characteristic can be called the century of romanticism. In the history of philosophy, the hermeneutics of romanticism appeared as a part of efforts to overcome the self-limitation of pure reason which was led to the collapse of rationalism, and it developed from special hermeneutics for the branch study into general hermeneutics, namely philosophical hermeneutics. Kant separated the phenomenon from the thing-in-itself(Ding an sich). In other words, the conclusion that the order created and found by reason appeared to us and was only valid in our world of the phenomenon didn’t satisfy the demand for the perfect understanding of the world, namely ‘a yearning for perfectness’. This became one of the secret origins of the leap in romanticism and following hermeneutics. It was because hermeneutics was based on the severance of access to the unproblematic world of pure reason. Then, the romantic movement of ‘back to subjectivity’ developed. Thus, the priority and the basic spirit of romanticism hermeneutics is ‘individuality’ and ‘ingenuity’. In other words, romanticism hermeneutics is called a chain of works focusing that readers approach individuality and ingenuity shown in literature with their own understanding ability and completely restore the meaning of literature in the context of restructuring ‘an author’s intention’. It proposes ‘understanding’ as an ideal demand including an endless task under the imperative of always ‘better understanding’(Imperativ des Besserverstehens). Schleiermacher is credited with pioneering the path to the universal hermeneutics, in which hermeneutics can be established as an independent philosophical discourse in the modern philosophy. However, his 'substantial status' is relatively insignificant compared to the hermeneutics of Heidegger-Gadamer or Ricoeur. This is not because his hermeneutics does not lie on the continuous historical relationship of influence, but simply because it is classified as Romantic Hermeneutics or Methodological Hermeneutics as it is considered as one with Dilthey's hermeneutical idea. Of course, “Non-Dilthey acceptance of Schleiermacher's hermeneutics” tries to introduce his true character, but it faces a limitation to overcome such an inferior situation. What is important in accepting Schleiermacher's hermeneutics is not just the objective reconstruction of his ideology, but includes the work of shifting his ideology into the center of controversy. Considering his hermeneutical ideas with his dialectical reasons, the possibility of re-interpretation is fully available. He “argued that not basing the issue of reasons and knowledge on logic alone cannot fully reveal the knowledge or system in the perspective of pure theoretical philosophy and that the knowledge must always be revealed in relation to practice.” This argument illustrates the inextricable relationship between theory and practice. Therefore, it is convinced that not only the ‘theoretical adequacy’ but also the ‘practical acceptability’ can expand the horizon of Schleiermacher’s hermeneutics. On the other hand, the goal of Dilthey’s philosophy is ‘to understand life as life itself(das Leben als das Leben selbst verstehen)’. This can be distinguished by the object regulation of ‘life’ and the method consciousness of 'from life itself'. First, 'life' refers to the way in which individuals live their lives in a given environment and the outcomes. This is what Dilthey calls ‘unites of mental and physical life’. The entities of life are also thoughts, feelings, and motivations (ein vorstellend-fühlend-wollendes Wesen). Thus, Dilthey elucidates how human thoughts, emotions, and wills work in physical, mental, social, and historical realities (environments) through the conceptual concept of life-related connections such as purpose, action, acquisition, and structure. This paper studies how the understanding of music is made in the thought of Schleiermacher and Dilthey who represent romanticism hermeneutics and on the basis of this tries to find the possibility of musical hermeneutics in romanticism hermeneutics. Especially, focusing on the works of two philosophers, this paper tries to research how hermeneutical thought is applied to and expanded into the fields of music. This also tries to understand the correlation between hermeneutical thought and contemporary musicology. The study was carried out in the context of ‘application’(Anwendung) and ‘expansion’(Erweiterung). This is also a way to materialize the philosophical idea of Gadamer who stressed ‘conversation’ as the spirit of hermeneutics. ‘낭만주의’를 “완전함을 향한 충족될 수 없는 동경”으로 정의한다면 이런 특성이 가장 잘 드러나는 19세기는 낭만주의의 세기라 부를 수 있다. 낭만주의 해석학은 철학사적으로 합리주의의 해체, 즉 순수이성의 자기제한을 극복하려는 노력의 일환으로 등장하게 되었다. 이는 구체적으로 분과학문을 위한 특수해석학에서 보편적 해석학 또는 철학적 해석학의 전개라는 방향으로 나아가게 된다. 칸트의 현상과 물자체의 구분, 즉 정신이 만들고 발견한 질서는 감각적 경험을 통해 우리에게 나타나는 현상세계에게만 타당성을 가진다는 귀결은 온전한 세계이해를 위한 요구, 즉 ‘완전함을 향한 열망’을 충족시킬 수 없었다. 이것이 낭만주의와 그 이후 해석학에서 일어나는 도약의 비밀스러운 근원 중의 하나가 되었다. 이는 해석학이 합리적인 세계접근에 대한 단절을 전제로 자신의 입지를 구축하기 때문이다. 이러한 단절을 극복하기 위해 ‘주관성으로의 회귀’라는 낭만주의의 운동이 전개된다. 따라서 낭만주의 해석학의 중심적 사유 대상이자 기본 정신은 ‘개성’과 ‘천재성’ 개념이다. 곧 독자가 자신의 이해 능력을 발휘하여 문헌에 표출된 저자의 개성과 천재성에 다가가고, ‘저자의 의도’의 재구성이라는 맥락에서 문헌의 의미를 완전히 복원시키는 일을 중시하는 일련의 작업을 낭만주의 해석학이라 부른다. 여기서는 항상 ‘더 잘 이해함의 명법’아래에서 ‘이해’를 끝없는 과제를 포함한 이상적인 요구로서 제시한다. 이런 배경에서 이 연구는 낭만주의 해석학을 대표하는 슐라이어마허와 딜타이의 사상과 저작에서 음악 이해가 어떻게 형성되는지를 규명하고, 특히 해석학적 사유가 어떻게 음악과 예술 영역으로 적용 및 확장되는지를 탐구하고자 한다. 두 사상가 모두 정도의 차이는 있지만 ‘체계적인 의미’에서 음악연구를 수행한 것은 아니다. 그러나 ‘해석학적 철학’을 전개한 두 사상가의 사유세계에서 음악이 차지하는 비중은 매우 크다. 두 사상가의 여러 저작들에 산발적으로 논의된 음악적 논의들을 ‘음악해석학’이라는 주제로 재구성하는 것은, 이 사상가들의 철학적 면모를 새롭게 조명하고, ‘해석학의 적용과 확장’이라는 의미에서 유의미한 지평을 제시하며, 음악연구 자체에 새로운 동인을 제공할 것이다. 이 연구의 내용은 다음과 같다. 우선 낭만주의 해석학에 대한 기본사상과 슐라이어마허의 해석학, 그리고 딜타이의 해석학에 대해 개괄한다. 이를 바탕으로 ‘실천적 연관’을 중심으로 전개되는 슐라이어마허 해석학과 ‘삶의 연관’을 중심으로 전개되는 딜타이의 해석학이 어떻게 음악영역에 적용 가능한지와 그러한 확장과 지평확대가 어떻게 이루어지는지를 탐구한다. 이어서 슐라이어마허 해석학에서의 음악이해와 딜타이 해석학에서의 음악이해에 대해 논의한다. 여기에서는 첫째, 두 철학자의 개별 저서들에 나타난 음악과 연관된 표현들을 통해 음악의 위상을 세밀히 알아본다. 둘째, 그들의 사상에서 전개되는 미학적 논의를 탐구한다. 셋째, 그들의 음악미학과 음악해석학의 연관성을 탐구한다. 특히 슐라이어마허의 해석학에서 음악이해는 종교와 음악과의 관계를 규명하지 않고서는 제대로 파악될 수 없다. 따라서 음악과 종교를 탐구함과 동시에 공동체의 구성과 운영에 중요한 역할을 수행하는 그의 ‘사교개념’이 음악이해와 어떻게 연관이 되는지를 밝혔다. 그는 ‘느낌의 교제’로서 음악을 강조하고 있는데 이것은 지금까지 독일 연구가들조차도 제대로 파악하지 못한 것처럼 보인다. 이러한 새로운 접근을 통해 갈등과 반목의 사회에서 음악의 긍정적 역할에 대해 논의될 수 있기를 기대한다. 마찬가지로 딜타이의 해석학에서도 인간의 근원적인 체험과 표현으로 이루어지는 종교영역은 매우 중요하다. 기본적으로 그의 해석학에서는 ‘체험표현 모델로서의 음악이해’가 필수적이다. 그는 종종 종교적 세계와 음악적 차원에 대한 비밀스러운 연결고리를 찾으려는 의도를 비친다. 이 연구에서는 그가 말하는 삶과 음악의 ‘동형성’을 파악함과 동시에 음악과 시(문학)의 해석학적 차이를 탐구한다. 또한 그의 ‘바흐연구’가 음악해석학에 미치는 영향에 대해 연구하는 것과 더불어 종교적 체험과 음악과의 관계를 중점적으로 탐구한다. ‘인간의 내면’과 ‘표현’을 중심으로 전개되는 그의 바흐연구는 음악을 통해 죽음과 종교와 마주할 수 있도록 우리를 인도한다. 이 연구의 마지막부분에서는 낭만주의 해석학의 음악이해에 대한 현재성과 필요성을 부각시키고 있다. 영미권의 음악학 연구와 유럽권의 음악학 연구는 상이하다. 즉 영미권에서는 ‘음악분석’에 치중하는 반면, 유럽권에서는 ‘음악분석’과 함께 ‘음악해석’의 중요성도 강조한다. 이런 배경에서 이 연구에서는 ‘음악해석’의 중요성을 지지하는 크레이머 등 몇몇 학자의 관점을 통해 현대 음악학에서의 음악해석학의 전망을 타진해보았다. 이 연구를 통해서 연구자는 슐라이어마허와 딜타이로 대표되는 낭만주의 해석학이 음악학 연구, 특히 음악해석학의 전개에 매우 유용한 적용 방향을 보여줄 수 있다는 점을 확인하였다. 예컨대 낭만주의 해석학이 일방적으로 고정된 이론적 틀을 고집하는 것이 아니라, ‘실천’과 ‘삶’에 초점을 맞추면서 구체적인 현실에 타당한 방법을 고안하고, 지속적이고 합리적인 이해의 폭을 증진시키려는 노력을 대변하기 때문이다. 그리고 작곡가의 삶의 체험에 대한 표현으로서의 음악을 이해하려는 음악해석학은 낭만주의 해석학의 ‘이해의 법칙과 원리들’ 안에서 새롭게 구성될 수 있으며, 음악작품 안의 ‘고차원적 이해’를 필요로 하는 객관화될 수 있는 공통의 표현양식은 새로운 ‘이해’를 향한 낭만주의 해석학을 요구하기 때문이다.

Classicism and Romanticism in Three Ballets by Frederick Ashton

Ha, Steven ProQuest Dissertations & Theses The Ohio State Uni 2021 해외박사(DDOD)

“Classicism and Romanticism in Three Ballets by Frederick Ashton” examines three ballets by the twentieth-century British choreographer Sir Frederick Ashton (1904–1988). I tease apart elements of the aesthetic theories of classicism and romanticism as they manifest in Ashton’s choreography and consider how those aesthetic ideologies relate to representations of gender in performance. I present three case studies from different periods in Ashton’s career: Les Illuminations (1950), The Dream (1964), and Rhapsody (1980). In choosing a selection of ballets across Ashton’s oeuvre, my analysis identifies the strains of romanticism that are crucial to deciphering meaning in each work individually and elucidates the continuous undercurrent of romanticism that challenge conventions of classical ballet. I consider Ashton’s relationship to the art form’s approach to gender and its emphasis of sexual difference through the heterosexual pas de deux, athleticism of male dancers, and perceptions of ballerinas as muses. I demonstrate how Ashton’s ballets subtly reject these conventions. I then situate each ballet in its historical moment, to further explicate how the ballets’ engagements with discourses of gender in dance also refract concomitant sociopolitical circumstances relating to gender and sexuality. I ground each examination in the dance itself and employ choreographic analysis to substantiate the various claims about romanticism/classicism and gender in each ballet; my examination is further supported by scholarship and archival research in the form of critical reviews and personal accounts from the artists involved. Given the differences in era and context of each ballet, each chapter brings into focus a different set of frameworks for analysis. In the chapter on Rhapsody, I consider notions of virtuosity as they relate to gendered norms and the ballet’s reversal of roles in gendering the artist as male and the muse as female. In terms of The Dream, I examine the male fairy body of Oberon and the dynamics of power in a matriarchal society led by Titania and consider their echoes of Victorian ideals of gender and marriage. Lastly, in examining Les Illuminations, I identify the influence of British romanticism to ascertain the ballet’s opposition to dualistic structures such as the Apollonian/Dionysian, and I further speculate on the choreography’s political dimensions as a performance of protest by the dancer Nicholas Magallanes, against a backdrop of the Lavender Scare and racism against migrant workers in the mid-twentieth century in the United States. I argue that Ashton’s ballets exemplify a notion of romantic ballet that acknowledges the sustained influence of nineteenth-century romanticism but resists the nineteenth-century periodization of the “romantic ballet.” This dissertation research thus contributes to scholarship that interrogates labels such as “romantic” and suggests the term’s applicability to twentieth-century works in order to emphasize the complexities of a single work of art. Additionally, in choosing Ashton’s ballets as the focus of this study, I bring scholarly attention to a choreographer who is underrepresented in the field of dance studies.

Sur la piont의 Romanticism에 관한 고찰

김미희 梨花女子大學校 大學院 1984 국내석사

북한소설의 구조 분석 : 김병훈의 소설을 중심으로

이인표 연세대학교 대학원 2020 국내박사

이 논문은 김병훈의 소설을 중심으로 북한소설의 구조를 분석하려는 것이다. 김병훈은 1950년대 말에서 2000년대까지 활동한 북한 작가이다. 그는 1960년대 초 “혁명적 아름다움”을 구현하는 소설로 이름을 알리기 시작했다. 그리고 1970년대에 이르러 “혁명적 랑만주의”를 구현하는 소설로 유명해졌다. 1980년대 이후로는 “혁명적 수령관”을 구현하는 소설로 북한문단을 대표할 수 있는 작가의 반열에 올랐다. 이런 그의 문학사적 편력은 공산주의적 인민형상을 통해 혁명역사의 아름다움과 낭만을 구현하는 것에서 유일지도체계의 수령형상을 통해 혁명역사의 완고한 당위를 구현하는 것으로 강조점을 옮겨간 북한소설사를 반영할 수 있다. 혁명역사는 북한 문학담론을 지배하는 개념이다. 혁명역사는 개인주의를 일소하고 집단주의 유토피아의 종언에 이르러야만 한다는 목적론을 함의한다. 북한 문학담론을 생산하는 당의 전일적 규율을 받는 북한소설은 원칙적으로 이를 재생산해야 한다. 이런 의미에서 북한소설이 공식적으로는 혁명역사의 목적론이라는 문학담론을 재생산하는 혁명서사라고 볼 수 있다. 역사적 맥락에서 북한소설은 개인주의를 일소하는 집단주의 유토피아의 종언을 부단히 지향하는 공산주의적 인민형상을 구현하는 것에서, 이를 담보한다는 유일지도체계의 수령을 구현하는 것으로 강조점을 옮겨갔다고 볼 수 있다. 김병훈은 공산주의적 인민형상을 통해 “혁명적 아름다움”, “혁명적 랑만성”을 구현했던 데서도, “혁명적 수령”을 구현했던 데에서도 북한소설사를 대표할 만한 작가이다. 그러므로 김병훈의 소설이 변모해온 양상을 통해 북한소설의 혁명서사가 구현하는 혁명역사의 형상이 시대에 따라 변모해온 양상을 탐색할 수 있다. 김병훈의 혁명서사에서 주체시대 이전 공산주의적 인민형상을 통해 “혁명적 아름다움”과 “혁명적 랑만성”이 어떻게 구현되는지를, 또한 주체시대 이후 “혁명적 수령관”이 어떻게 구현되는지를 볼 수 있을 것이다. 북한소설의 혁명서사가 주체시대 이전에는 공산주의적 인민형상이 추구하는 혁명역사를, 주체시대 이후에는 유일지도체계의 수령형상이 담보하는 혁명역사를 구현하는 데 중점을 두었다는 것은 두루 알려진 바다. 이 논문은 이를 재론하려는 것이 아니다. 공산주의적 인민형상에 내포된 “혁명적 아름다움”, “혁명적 랑만성”, 그리고 수령형상에 내포된 “혁명적 수령관”을 구현하는 혁명서사의 담화구조를 분석하려는 것이다. 서사는 결국 서술자가 독자에게 하는 담화이다. 이때 서사의 담화구조는 담화의 내용을 구현하는 형식이다. “혁명적 아름다움”, “혁명적 랑만주의”, “혁명적 수령관”은 혁명서사가 독자에게 전하는 담화의 내용, 즉 독자에게 주려는 전언이라고 볼 수 있다. 혁명서사의 담화구조는 이런 전언들을 구현하는 물적 구조, 즉 전언체계이다. 이런 혁명적 전언들은 혁명역사의 목적론, 그리고 누구도 이를 벗어날 수 없는 집단주의를 함의할 것이다. 하지만 전언의 ‘의식’을 구현하는 전언체계는 전언이 온전히 통어할 수 없는 것이다. 서사의 전언체계는 전언이 온전히 통어할 수 없는 ‘무의식’적 언어구조이다. 이는 서사의 담화내용인 전언이 아니라 담화구조인 전언체계를 분석함으로써 전언의 ‘의식’을 넘어 전언체계의 ‘무의식’을 탐색하는 구조시학의 근본전제이다. 혁명적 전언은 “혁명적 아름다움”이나 “혁명적 랑만성”에 중점을 두든, “혁명적 수령관”에 중점을 두든, 혁명역사의 목적론적 전언이 아닐 수 없다. 이를테면 “혁명적 아름다움”은 혁명역사의 공간은 아름답다는 전언이고, “혁명적 랑만주의”는 혁명역사의 시간은 낭만적이라는 전언이다. 이런 혁명적 전언들은 결국 혁명역사의 목적론을 정당화하려는 것이다. 하지만, 무엇이 아름답다는 ‘의식’적 전언을 구현하는 ‘무의식’적 전언체계는 미적 표상구조이며, 무엇이 낭만적이라는 ‘의식’적 전언을 구현하는 ‘무의식’적 전언체계는 낭만주의적 상징구조이다. 이런 전언체계의 ‘무의식’은 전언의 ‘의식’이 온전히 통어할 수 없는 것이다. 본 논문이 구조시학의 방법론을 준용해, 혁명역사의 목적론을 형상화하는 김병훈 소설의 구조를 분석하려는 첫 번째 이유는 김병훈의 소설이 북한소설사에서 시대에 따라 다른 혁명적 전언들을 구현하는 혁명서사의 다양한 전언체계를 보여줄 수 있기 때문이다. 두 번째 이유는 ‘의식’적 전언을 넘어 ‘무의식’적 전언체계를 분석함으로써 혁명역사의 목적론과 집단주의에 경도된 전언이 온전히 통어할 수 없는, 전언체계상 노정되는 균열과 일탈을 탐색하고자 하는 것이다. This paper is intended to analyze the structure of North Korean novels, focusing on Kim Byung-hoon’s novels. Kim Byung-hoon is a North Korean writer who worked from the late 1950s to the 2000s. In the early 1960s, he began to make his name known for his novels embodying “revolutionary beauty.” And in the 1970s, he became more famous for his novels embodying “revolutionary romanticism.” Since the 1980s, he has been in the rank of writers who can represent North Korea literary circle for his novels embodying “revolutionary Suryong.” His literary career can reflect the history of North Korean novels that shifted the emphasis from embodying the beauty and romance of revolutionary history in communist people’s image to embodying the stubborn morality of revolutionary history in Suryong’s image of the monolithic leadership system. Revolutionary history is the concept that governs North Korean literature discourse. Revolutionary history implies a teleology in which North Korean society must sweep away individualism and reach the end of collectivist utopia. In principle, North Korean novels under the strict control of the socialist party that produces North Korean literary discourse, should reproduce this discourse. In this sense, North Korean novels are the revolutionary narratives that reproduce the literary discourse that supports officially the teleology of revolutionary history. In the historical context, North Korean novels have shifted their emphasis from embodying the communist people's image of continually pursuing the end of the collectivist utopia by purging individualism, to embodying the Suryong’s monolithic leadership system to secure it. Kim Byung-hoon is a writer who can represent the history of North Korean novels by embodying “revolutionary beauty” and “revolutionary romanticism” in the communist people's image, and also by embodying “revolutionary Suryong”. Through this, you can explore the aspects of the revolutionary history embodied in the North Korean novel's revolutionary narrative that has changed over time. Analyzing revolutionary narrative of Kim Byung-hoon, you can see how “revolutionary beauty” and “revolutionary romanticism” are embodied in the communist people's image before the Juche period, and also how “revolutionary Suryong” is embodied since the period. It is widely known that the North Korean novel's revolutionary narrative focused on embodying the revolutionary history pursued by the communist people before the Juche period and has focused on the history secured by Suryong of the monolithic leadership system since the era. This paper is not intended to reiterate it. It attempts to analyze the discourse structure of the revolutionary narrative embodying the “revolutionary beauty”, “revolutionary romanticism” embedded in the communist people’s image and the “revolutionary Suryong.” The narrative is a discourse in which the narrator tells the reader something. The narrative discourse structure is a form that embodies the discourse content. “Revolutionary Beauty”, “Revolutionary Romanticism”, and “revolutionary Suryong” can be regarded as the discourse content that the revolutionary narrative conveys to the reader, that is, a message to the reader. The discourse structure of the revolutionary narrative is a material structure that embodies these messages. It is the message system. These revolutionary messages implies the teleology of revolutionary history, and collectivism in which no one can escape it. However, the message system that embodies the “consciousness” of the message is not completely controlled by the message. The message system of a narrative is a “unconscious” language structure that the message cannot fully control. This is a fundamental premise of structural poetics that attempts to search for the “unconscious” message system beyond the “conscious” message by analyzing the message system that is the discourse structure, not the message that is the discourse content. “Revolutionary beauty”, “revolutionary romanticism”, and “revolutionary Suryong” are inevitably the teleological messages on the revolutionary history. In other words, “revolutionary beauty” is the message that “the space of revolutionary history is beautiful” and “revolutionary romanticism” is the message that “the time of revolutionary history is romantic.” These revolutionary messages are intended to justify the teleology of revolutionary history. However the “unconscious” message system embodying the message that something is beautiful is an aesthetic structure of representation. The “unconscious” message system embodying the message that something is romantic is a romantic structure of symbolism. The “unconscious” message system is what the “consciousness” of the message cannot fully control. The first reason this paper attempts to analyze the structure of Kim Byung-hoon’s novels that embody the teleology of revolutionary history by using the methodology of structural poetics is that his novels show the various message systems of the revolutionary narrative, which embody different revolutionary messages in accordance with different periods. The second reason is to analyze the “unconscious” message system over the “conscious” message, and seek to explore the cracks and deviations of the message system which cannot be completely controlled by the message hardened in the teleologism and collectivism of revolutionary history.

R. A. Schumann의 피아노作品에 나타난 romanticism의 特性에 關한 硏究 : Carnaval op. 9를 중심으로

장은진 檀國大學校 大學院 1983 국내석사

This thesis aims at analyzing the romantic characteristics of R. A. Schumann's piano music especially in "Carnaval" op. 9. This work is expected to contribute to the understanding of piano music in the Romantic era and also the interpretation of Schumann's piano works. The second chapter has the general view about the meaning of Romanticism and its social background. The characteristics of music in the Romantic period was dealt with also. In the third chapter, the writer surveyed the life of R. A. Schumann as a musician and critic respectfully and then she tried to examine the distinction on the piano music of Schumann as a Romantic musician in general. The analysis on Carnaval op. 9 was in the fourth chapter. The effort was concentrated to discover the relationship between 22 titles and contents of the works, and to point out the romantic in the style and technique adopted in Carnaval. In conclusion two suggestions was made. The first is that Schumann's piano music has deep relationship with the Romantic literature in theme and its proceeding method. The second is that schumann has tried to give varieties and liberty to the classical music and musician by applying following style and techniques to his work ; (1) chromatics, (2) dissonance, (3) transposition of assent, (4) unexpected tempo and key, (5) diversity of pedaling.

Everyday Revenge and British Romanticism

McMichael, Trevor A ProQuest Dissertations & Theses Indiana University 2022 해외박사(DDOD)

This dissertation argues that Romantic-era writers conceptualize distinct types of “everyday revenge” that arise in distinct genres of the period. These forms of revenge include schadenfreude, or the malicious delight individuals derive from the suffering of others, that appears in staged drama; imaginative revenge that emerges in lyrical ballads; and suspense-as-revenge that develops in prose fiction and non-fiction. Most conventional revenge narratives throughout literary history feature characters plotting reprisal, which generally leads to spectacularly violent, tragic outcomes. Everyday forms of revenge, to the contrary, are imaginative, passive, and mostly physically inactive, but they are no less gratifying or cathartic as writers like Joanna Baillie, Matthew Lewis, William Wordsworth, Letitia Elizabeth Landon, and William Hazlitt demonstrate. This dissertation also explores how literary form and these forms of revenge mutually constitute one another: whereas conventional revenge stories feature plotting, violent spectacle, and tragedy, the literature I examine relies on formal features such as lyric, meter, and comedy or else revises and attenuates more conventional formal features like plotting and spectacle. This project intervenes in Romantic studies by shifting the critical focus on revenge’s relationship to revolution, war, and bloodshed to revenge’s association with a variety of other quotidian, everyday contexts, such as when individuals are jilted by their lovers or when political rivalries produce vengefulness. My project considers, then, how Romantic writers rescale revenge—typically an extraordinary, tragic, and violent phenomenon—in ordinary, smaller terms. “Everyday Revenge” also discusses the communal, sociable dimensions of reprisal, for the forms of everyday revenge examined in this project reveal vengefulness to be a matter of sympathy and collectivity, whether that collectivity pertains to two people, a village, or a nation. This project contributes to recent conversations in Romantic studies that contend that collectivity and shared feeling are concepts integral to how scholars should understand Romantic literary culture. Furthermore, my dissertation demonstrates that lyricism and imagination, two of Romanticism’s most salient features, can be collective and social rather than egotistical and solipsistic, charges long levied by literary critics against Romantic poets and poetics.

베토벤의 <String Quartet No. 14 in C# minor, Op. 131> 분석연구 : 낭만주의 음악적 특징을 중심으로

류지 호서대학교 일반대학원 2023 국내박사

This paper discusses Ludwig van Beethoven, a classical composer revered as a musical genius, who is celebrated for completing the Classical era in music history, yet is also categorized as a pioneer of Romantic music. The focus is on his late work, String Quartet No. 14 in C-sharp minor, Op. 131, also known as "Grosse Fuge," to shed light on his transition to a Romantic artistic world. Despite Beethoven's acclaim, it's easy to overlook the significance of his post-middle-period works in the history of music. His late works, including Op. 131, were initially neglected after his death but began to be re-evaluated in the 20th century. These works reflect his desire to deepen and scale up the musical forms established by predecessors like Franz Joseph Haydn and Wolfgang Amadeus Mozart. Beethoven relentlessly altered the progression, harmony, and instrumentation of his compositions, thereby completing the Classical form and laying the groundwork for Romanticism. Beethoven's innovations in musical form and structure were not only the climax of Classicism but also a precursor to Romanticism. The String Quartet Op. 131, in particular, is lauded as his masterpiece, introducing a new style marked by musical innovation and unpredictable creativity, paving the way for Romanticism. Beethoven, compared to Kant in philosophy, Napoleon in politics, and Goethe in literature, broke away from the standards of Haydn and Mozart. He introduced rapid shifts between tension and relaxation, daring transitions from one motif to another, and extracted the fullest expressive potential from instruments. This paper delves into Beethoven's artistic exploration and creative musical approach. A detailed analysis of Op. 131 reveals the patterns and ideals in his late compositions and his influence on Romantic music. These works go beyond contemporary musical concepts, breaking traditional constraints and creating new Romantic patterns. Beethoven's late style reflects not only the rigor and objectivity of polyphonic musicbut also the emotional subjectivity of the Romantic era, making his creative philosophy complex and profound. For instance, the fugue at the beginning of Op. 131 exhibits a slow tempo and characteristics of religious meditation. His late style is a mediation between two phases, marked by deep self-reflection. Beethoven maintained classical forms like the fugue, sonata, variations, and scherzo while innovating their combinations and sound structures. His desire to expand the breadth of music is evident in his numbering of movements and uninterrupted transitions between them. The key relationships in the seven movements include unconventional structural expansions like the Neapolitan Key and mediant relationships. His works, blending traditional classical structure with romantic elements, are regarded as innovative and wondrous. However, he did not completely abandon traditional Classical views, maintaining a progressive yet classical aspect filled with sophisticated composition and skillful tuning. These qualities contribute to the enduring love and admiration for Beethoven's works, highlighting his significant challenge and contribution to human art.

Friedrich Schlegel and the Romantic Iconic Turn

Oosterom, Sander Cornell University ProQuest Dissertations & Theses 2023 해외박사(DDOD)

My dissertation project examines the rediscovery of the medieval devotional image and the Byzantine iconic tradition in German Romanticism. Tracing the contours and political implications of a Romantic iconic turn in the aesthetics of Friedrich Schlegel and the painting of Caspar David Friedrich, my dissertation concentrates on a countermovement within the German Romantic tradition that sought to reconfigure the medium of painting at the moment of its institutionalization. By seeking to restore the medieval religious image as an alternative to the secular conception of autonomous painting, I argue that the Romantic iconic turn was an attempt to reestablish the modern discourse of painting on a different ontological footing while simultaneously reconfiguring its history, resituating the German school of painting in a historical lineage that had its origin in the iconic tradition of medieval Byzantium. As such, I demonstrate that the Romantic iconic turn coincides with the first positive appraisal of Byzantine art in modern European history, which ultimately had no other aim than to unleash the image's religious and political power. This dissertation thus concludes by arguing that the Romantic iconic turn was motivated by a counter-revolutionary politics that sought to undermine the secular underpinnings of European visual culture. Reinscribing the image within an economic-theological framework that derived from the work of the Early Church Fathers, I argue that the Romantic iconic turn was ultimately informed by a nationalistic agenda that sought to reintegrate the domains of art and life while reconfiguring the medium of painting as a principal instrument of governmental power. .

En-gendering Romantic Media Theory: British Women Poets and Media Technologies, 1800-1832

Debelius, Christie Brooke ProQuest Dissertations & Theses Indiana University 2022 해외박사(DDOD)

This dissertation argues that women poets in the Romantic period both recognized and took advantage of the gendered power dynamics built into various forms of media. Writing amid a media revolution, these poets reflected prolifically and incisively on their own media-saturated world in poems that represent both poetry’s ability to function as a medium and its interaction with other forms of media in a larger ecology. Their concern with poetry’s status as a medium tapped into urgent conversations in a variety of arenas, from pedagogy to politics and history to the publishing industry itself. Yet women poets’ position as Romantic-era media theorists has been largely neglected, even though scholarly interest in Romantic writers and media theory has increased steadily in recent years. My analysis returns women poets such as Charlotte Smith, Mary Robinson, Felicia Hemans, and Letitia Elizabeth Landon to the prominent place they occupied in debates about the implications of new and newly expanding media in their time. In doing so, I show that women poets played a role in shaping the conversations about media in the Romantic period—that they were active participants in these ongoing cultural discussions who sought both to understand media and to critique it, to contribute to its production and to think through its complexities and implications alongside their readers. Critical understandings of Romantic-period media theory have thus far been shaped by the perspectives of more canonical male poets; I argue that we can enrich these understandings significantly by also approaching media through the eyes of women, whose gendered perspectives gave shape to their own understandings of media and mediation. In doing so, this dissertation offers a fuller history of how gender has shaped the way we approach, use, and theorize media—a history that might help us understand our own media-saturated culture anew.