Petrus Borel was a minor, French Romantic author who was involved with a small group of artists, the 'Petit cenacle', writing and working in early 1830s Paris. They styled themselves on the more famous 'Cenacle', but were more than imitators of the great names of the Romantic movemement. Members of the 'Petit cenacle', which included the young Gautier and Nerval, took their cues from the major figures of the movement, but often pushed the enthusiasm for aesthetic reform, the colorful exoticism and the rebelliousness of Romanticism far beyond what the major figures were willing to attempt. The 'Petit cenacle' became associated in the mind of the public with a small number of groups of political and artistic militants, whose period of greatest activity coincided with the upheaval in the few years following the July Revolution, and with the Romantic battles in the theatre. Borel's group was often confused with the bousingos, [1] a species of young political conspirator, and was at times synonymous with the jeunes-France, young men whose Romantic and medievalist literary pretensions were often nuanced with Utopian socialism or republicanism. The 'Petit cenacle' was well known and documented for its use of provocative political rhetoric, in addition to the group's tendency to express its ideals through raucous behaviour and outlandish costumes. In recent years, these minor Romantics have been considered important for having brought the aesthetic principles of Romanticism into play in everyday life. They were at turns idealistic, violently polemical and republican, or aggressivelyfatalistic as suited their ever-changing desire to shock the middle-class and the reading public. [Continues in thesis] 1There are a number of spellings of the word bousingo: bousingot. and bouzingot are both common variations. I shall discuss the etymology later in the first chapter. Throughout the thesis, I will employ the form that was agreed upon by the members of Borel's literary group, bousingo.

Thesis (Ph.D.)--Boston University / The object of this study is to examine the principle works of Giambattista Vico (1668-1744), to establish him as a philosopher and theorist of romanticism and to what extent his theories were incorporated in the theories of the French romanticists, especially between the years 1827-1830. Vico posed the basic principles of romanticism by starting with a rejection of Cartesian principles and the classical standards and taste imposed by Aristotle and the Italian classicists. He insisted that history is organic, possessing its peculiar form of evolution and its own laws, as is literature, which reflects the history of the individual and societies. Vico maintained that poetic creativity is primarily intuitive rather than rational. The primitive poet's rich sensory imagination, unique fount of his lyrical creativity, diminished as his rational faculties developed, with a consequent loss of his power to create sublime poetry [TRUNCATED]

Thesis (Ph. D.)--University of California, Los Angeles--Art History, 1982. / Vita. "A copy of this doctoral dissertation with the plates and three supplemental catalogues is on file at the Art Library of the University of California, Los Angeles." eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 235-238).

Thesis (M.A.)--Boston University / Franz Liszt's essay, "De la Situation des Artistes et de leur Condition dans la Societe," published in the Gazette musicole de Paris between 5 May and 11 October 1835, is one of the first comprehensive studies by a nineteenth-century French composer on the status of musicians in society. Liszt criticizes contemporary society for exploiting the talents of artists while disregarding their needs, and concerns himself with the creation of a new position for artists in society. The most frequently cited influence of the essay has been Liszt's contact with the Saint-Simonians movement. I wish to show that emphasis on the Saint-Simonians fails to show properly Liszt's debt to French Romantic ideas and philosophies during the 1830's. I define the social romantictsm that infused France and French artists and literary figues such as Victor Hugo, Alfred de Vigny and Alphonse de Lamartine, in the 1830's, and differentiate it from the utopian socialism of the period. I give an overview of the state of music journalism during the 1830's in Paris and discuss various relevant music-related journalists and their influences. specific aims and styles. Finally, I look at the compositional forms promoted and utilized by the Saint-Simonians and examine the compositions of Liszt during this period to see the extent of Liszt's experimentation with Saint-Simonian ideas within his musical compositions, and make conclusions as to the principal musical ideas which the Liszt pursued. Though this critique of the essay, and a discussion of the various influences which led up to it, I suggest an interpretation that clearly recognizes Liszt's place within the French social romantics during the 1830's.

Submitted by Cristovam Bruno Gomes Cavalcante null (cbgc13@hotmail.com) on 2016-06-29T13:34:53Z No. of bitstreams: 1 DissertaçãoCompleta_Cristovam (1).pdf: 1132842 bytes, checksum: eefe8fc59411468245d6adbaeaaa670d (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-06-30T18:29:39Z (GMT) No. of bitstreams: 1 cavalcante_cbg_me_arafcl.pdf: 1132842 bytes, checksum: eefe8fc59411468245d6adbaeaaa670d (MD5) / Made available in DSpace on 2016-06-30T18:29:39Z (GMT). No. of bitstreams: 1 cavalcante_cbg_me_arafcl.pdf: 1132842 bytes, checksum: eefe8fc59411468245d6adbaeaaa670d (MD5) Previous issue date: 2016-05-30 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Este trabalho propõe-se a estudar as concepções poéticas do escritor francês Théophile Gautier (1811-1872), figura relevante para a arte de diversos outros poetas e de movimentos literários posteriores. Tendo em vista que ele participou tanto das tentativas de consolidação do movimento romântico na França em 1830 quanto do desenvolvimento da poética do Parnasse, busca-se compreender como se formou o seu estilo e como se firmou o seu pensamento, para, assim, partirmos ao objetivo principal do trabalho, que é o de assinalar a unidade de algumas obras em prosa de natureza fantástica e de sua obra poética, sobretudo da publicada em 1852, Émaux et Camées. Para esse fim, discorreremos, inicialmente, sobre as relações, por vezes conflituosas, entre o espírito burguês, os partidários de mudanças sociais e os artistas. Localizadas as questões que marcaram o poeta, que, particularmente, são a rejeição à demanda por utilidade social da arte e à necessidade de um posicionamento político do artista, partiremos à análise do corpus, aparentemente tão diverso, em busca de dados que comprovem a existência de uma unidade poética entre as obras escolhidas. / This work proposes a study from the poetic conceptions of the French writer Théophile Gautier (1811-1872), relevant name to the art of many other poets and later literary movements. Given that this poet attended both of the Romantic movement consolidation attempts in France in 1830 as the development of poetics of Parnassus, we seek to understand how his style was formed and how his thinking steadied in his composing, for thus we set the main objective of this study, which is to mark the unit inside some works in prose of fantastic nature and inside his poetic composition, especially the one published in 1852, Émaux et Camées. To that, we will discuss initially about conflictual relations between the bourgeois spirit, the supporters of social change and the artists. Once we located the issues that marked the poet, which in particular are the rejections to the social utility demand of art and to the need for a political position of the artist, we will analyze the corpus, apparently so diverse, in search of data to prove the existence of a poetic unity among the chosen works. / CNPq: 134128/2015-0

Chopin’s artistic philosophies were heavily indebted to his love of vocal music and his staunch belief that vocal expression represented the supreme essence of musical declamation. To his contemporaries in the Parisian salons, his veneration of the vocal ideal illuminated the expressive significance of Chopin’s musical language. Influenced by the dramatic function of operatic and vocal works, and by interpretive trends that associated literary programs with instrumental (textless) music, Chopin’s contemporaries searched for concealed narratives within his piano nocturnes. This thesis considers the narrative function of Chopin’s late nocturnes within the sociopolitical and musical culture of the Parisian salons, and utilizes a modern approach to narratology that resonates with a prominent facet of historical interpretation. The study reveals a specific reception in which audiences, influenced by the philosophies of Polish messianism, heard national narratives, sung pronouncements of his Polish nationality, and political support for the Polish nation in Chopin’s nocturnes. / Graduate

For over 200 years “René&rqduo; Chateaubriand's short fictional interlude in his grand argument for the restoration of Christianity after the French Revolution, has been read as the founding text of the French Romantic movement. While this text did in fact serve to define many of the characteristics of French Romantic literature, simply labeling it as such is anachronistic and obscures the more profound philosophical and theological claims Chateaubriand was actually attempting to illustrate. After an examination of the discrepancy between the author's intentions and the general perception, this study will briefly consider some of the traditional readings of “René” specifically in an effort to expose the inadequacies that have led to misinterpretation. At this point, an analysis of evolving philosophical and aesthetic ideals in the European tradition, particularly focusing on how Chateaubriand incorporated them into his Christian model, will reveal “René” as the author intended. While Chateaubriand has rightly been considered an anti-Enlightenment thinker, this assessment exposes a generally unnoticed and decidedly anti-Romantic tendency in his writings. Once restored to these original literary and philosophical contexts “René” coincides quite clearly with Chateaubriand's efforts to reinstate an eclectic, modernized, and aesthetically grounded form of traditional Christianity. Furthermore, it can finally be understood as an anticipatory effort aimed at disparaging rather than encouraging the burgeoning Romantic sentiment.

Orientador: Suzi Frankl Sperber / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituo de Estudos da Linguagem / Made available in DSpace on 2018-08-15T22:23:26Z (GMT). No. of bitstreams: 1 MeloFranco_LenonRogeriode_M.pdf: 1830662 bytes, checksum: d63fce9d22e9ed1808c6436f83f0a25d (MD5) Previous issue date: 2010 / Resumo: A dissertação se ocupa da recepção da obra francesa Gaspard de la Nuit: fantaisies à la manière de Rembrandt et de Callot desde sua publicação nos anos românticos até nossos dias. As leituras de Sainte-Beuve, Baudelaire, Mallarmé e André Breton, sobretudo, são revisadas à luz de exames sincrônicos e diacrônicos. Os diferentes acolhimentos do texto são oportunidade e aporte para discutirmos seus aspectos prevalentes, tais como a relação da poesia com as artes plásticas, a fundação de um novo gênero que é o poema em prosa moderno e a noção de poète maudit. Após o decantamento crítico de numerosos leitores, apresentamos então nossa exegese particular da obra - que se acrescenta a esses registros recepcionais que foram analisados / Abstract: Not informed / Mestrado / Literatura Geral e Comparada / Mestre em Teoria e História Literária