Bøger om Romantikken

A study of the fiction of Charles Dickens that traces the intersections between nineteenth-century literature and Victorian psychology and theories of the mind.

Poe and Women presents essays by scholars who investigate the various ways in which women-Poe's female contemporaries, critics, writers, and artists, as well as women characters in Poe adaptations-have shaped Edgar Allan Poe's reputation and revised his depictions of gender.

Lorraine Byrne Bodley illuminates the story of Schubert's life, from his early years at the Vienna Stadtkonvikt to the battle with syphilis that led to his early death. Reconsidering best-loved works and neglected repertoire and sources, Bodley offers a compelling portrait of one of the nineteenth century's most beloved?and elusive?composers.

This work is both a family history and a social history of Scotland with a focus on Edinburgh.

Traces the history of the Yıldız Palace in Istanbul, the last and largest imperial residential complex of the Ottoman Empire.

The first critical study that theorises the Italian Gothic and examines its main forms and manifestations across arts, media, and disciplines

Musical Topics and Musical Performance focuses on the interface of theory and practice, investigating how an appreciation of topical presence in a work may prompt interpretative thoughts for a potential performer as well as how performers have responded to such a presence in practice.

"Antonio Canova today embodies the essence of Neoclassicism but was an absolute protagonist of world art at the turn of the eighteenth and early nineteenth centuries. Defined by his contemporaries as the "novello Fidia", his works are in the major collections of the world, from the United States to Russia. This book was born for the celebrations of the two hundred years since the death of the artist, occurred in Venice in 1822, and is proposed as an itinerary to guide the visitor to the discovery of the multiple artistic testimonies left by the sculptor, painter and architect in his region, the Veneto, to which he remained always attached. Possagno, Bassano del Grappa, Vicenza, Padua, Verona and Venice are rich in works preserved in museums, palaces and churches in the area. The Temple of Possagno was given by the artist to his native country while at the behest of his brother Giovanni Battista, after the death of Antonio, most of the works from the Roman atelier were transferred to Possagno and Bassano del Grappa. If to admire his marble sculptures you have to go around the world, just go to Possagno, to see gathered in one place over three hundred works of the artist (sculptures, drawings, engravings and paintings). The volume offers a permanent tour to discover the Venetian territory: in addition to the works, visitors are invited to discover the "Canovian places" particularly significant in the artist's life." -- From the publisher's website.

She died and he lost the memories of her.Only a psychotropic substance can save them

Full facsimile of the original edition, not reproduced with Optical Recognition Software. The Ethiopian image was always rendered with great realism in Greek art. It was barred from sculpture and the finer arts, but it was a great favorite the potter, gen-cutter, and bronze-worker. This monograph suggests that the type originated in Naucratis and that from that colony it was introduced into Athens toward the close of the sixth century. The author describes, in a very systematic way, the development of the type and gives an exhaustive of works of art in the museums of Europe and American representing Ethiopians. This is a valuable contribution to archaeology and offers important material to the student of the private life of the ancient Athenians.

In Improbability, Chance, and the Nineteenth-Century Realist Novel, Adam Grener advances a new approach to evaluating realism in fiction by arguing that nineteenth-century literary realism shifted attention to the historical and social dimensions of probability in the period's literature. In an era in which probability was increasingly defined by statistical concepts of aggregation and abstraction, the realist writers discussed here turned to chance and improbability to address representational problems of contingency, difference, and scale. Contemporary thinking about probability came to recognize the variability and even randomness of the world while also discovering how patterns and order reemerge at scale. Reading chance as a tension between randomness and order, Grener shows how novels by Jane Austen, Sir Walter Scott, Charles Dickens, Anthony Trollope, and Thomas Hardy resist the demands of probabilistic representation and develop strategies for capturing cultural particularity and historical transformation. These authors served their visions of realism by tactically embracing improbability in the form of coincidences, fatalism, supernaturalism, and luck. Understanding this strategy helps us to appreciate how realist novels work to historicize the social worlds and experiences they represent and asks us to rethink the very foundation of realism.

How did Mary Shelley's Frankenstein give rise to the iconic green monster everyone knows today? In 1823, only five years after publication, Shelley herself saw the Creature come to life on stage, and this performance shaped the story's future. Suddenly, thousands of people who had never read Shelley's novel were participating in its cultural animation. Similarly, early adaptations magnified the reception and renown of all manner of nineteenth-century literary creations, from Byron and Keats to Dickens and Tennyson and beyond. Yet, until now, adaptation has been seen as a largely modern phenomenon. In Transmedia Adaptation in the Nineteenth Century, Lissette Lopez Szwydky convincingly historicizes the practice of adaptation, drawing on multiple disciplines to illustrate narrative mobility across time, culture, and geography. Case studies from stage plays, literature, painting, illustration, chapbooks, and toy theaters position adaptation as a central force in literary history that ensures continued cultural relevance, accessibility, and survival. The history of these forms helps to inform and put into context our contemporary obsessions with popular media. Finally, in upending a traditional understanding of canon by arguing that adaptation creates canon and not the other way around, Szwydky provides crucial bridges between nineteenth-century literary scholarship, adaptation studies, and media studies, thus identifying new stakes for all.

When this work was first prepared for publication in 1949 the Notebooks and Collected Letters were still in manuscript, and many of the printed works, if not unavailable, were scarce. The continuing publication of Coleridge's works has not lessened the demand for a general introduction to Coleridge's mind and its workings. Selections from works including The Friend, Essays on His Own Times, Aids to Reflection, the Statesman's Manual, Confessions of an Inquiring Spirit, and Table Talk, and from other lesser known works are arranged by topic. The subjects – psychology, education, language, logic and philosophy, literary criticism, the arts, science, society, religion and his contemporaries – reflect the astonishing range of Coleridge's intellectual interests. The revised edition of this anthology is still the best introduction to the prose works of an inquiring spirit.There is a fine introductory essay, and each section has an introduction of its own. The annotation is apt, and the index efficient. The whole book, in short, has been ordered with the distinction which is characteristic of Professor Coburn.

A married woman hastily dashes off not telling anyone. Hitches a ride from Minnesota into the interior of Alaska to live her dreams of being a mountain woman.Falls in love with a mountain man. Then diagnosed with terminal cancer. Together they prepare for her death by planning her headstone, words to be read and her resting place.

Die 1888 nach mehrjähriger Arbeit vollendete Violinsonate d-moll op. 108 ist Brahms' letzter Beitrag zu dieser Gattung. Im Gegensatz zu den beiden liedhaft-heiteren Sonaten in G-dur und A-dur präsentiert sich seine dritte Violinsonate als einzige in einer Molltonart, groß angelegt mit vier Sätzen und voller spannungsgeladener Dramatik. Das technisch und musikalisch gleichermaßen anspruchsvolle Werk wird gekrönt durch einen fulminanten Finalsatz, an dem schon Brahms' Zeitgenossen den "fortstürmenden Zug" bewunderten. Grund genug für den G. Henle Verlag, diese Sonate auch in einer Einzelausgabe anzubieten.Der Notentext dieser revidierten Urtextausgabe beruht auf dem Band der Neuen Brahms Gesamtausgabe, die höchste wissenschaftliche Genauigkeit garantiert. Die hilfreichen und musikalisch wohlüberlegten Fingersätze stammen vom bewährten Kammermusikduo Frank Peter Zimmermann und Martin Helmchen.

Während eines Sommeraufenthaltes im schweizerischen Thun komponierte Brahms 1886 gleich eine ganze Reihe von Kammermusikwerken, darunter auch die zweite Violinsonate in A-dur. Das wundervoll lyrische Werk gehört zu seinen heitersten Schöpfungen - der Biograph Max Kalbeck bezeichnete es hintersinnig als "Liebes- und Lieder-Sonate". Im Seitenthema des 1. Satzes zitiert Brahms das Kopfmotiv aus seinem eigenen Lied Wie Melodien zieht es mir, aber auch die übrigen Sätze sind von inniger Melodik geprägt. Den engen Zusammenhalt der kompositorischen Anlage erkannte bereits der Musikkritiker Eduard Hanslick: "Die drei Sätze bilden einen reinen Dreiklang einheitlich wohlthuender Stimmungen."Der Notentext dieser revidierten Urtextausgabe beruht auf dem neu erarbeiteten Band der Neuen Brahms Gesamtausgabe - Garant für höchste wissenschaftliche Genauigkeit. Mit Frank Peter Zimmermann und Martin Helmchen steuern zwei wahre Meister ihres Faches hilfreiche Fingersätze bei.

Johannes Brahms befasste sich früh mit der Gattung der Violinsonate. Bereits 1853 komponierte er eine Sonate in a-moll, die jedoch - wie so viele Frühwerke des selbstkritischen Komponisten - verschollen ist. Daher wird heute die 1878/79 entstandene G-dur-Sonate op. 78 als sein erster Beitrag zur Gattung gezählt; aufgrund eines Liedzitats im Finalsatz trägt sie den Beinamen "Regenlied-Sonate". Im Sommer 1886 komponierte Brahms nahezu gleichzeitig die beiden Sonaten op. 100 und 108. Alle drei Werke haben sich ihren festen Platz im Kanon der Violinliteratur erobert. Abgerundet wird dieser Band durch das Scherzo in c-moll, das Brahms zur sogenannten F.A.E.-Sonate beisteuerte, die er zusammen mit Robert Schumann und Albert Dietrich 1853 als Geschenk für den Geiger Joseph Joachim komponierte. Mit seinen scharfen Gegensätzen zwischen dem grimmigen Allegro- und dem gefühlvollen Più-Moderato-Teil ist das Scherzo ein beliebtes Bravour- und Zugabestück.Die vorliegende Neuausgabe basiert auf der Neuen Brahms-Gesamtausgabe und liefert damit einen nach neuestem Forschungsstand revidierten und kommentierten Notentext. Die Fingersätze stammen von wahren Meistern ihres Fachs: Frank Peter Zimmermann und Martin Helmchen.