German German Romanticism Romanticism is the highest grade reached romanticism in any region of the world and is both spiritual manifestation (geist) of the German and pan-Germanic region. [Citation needed] In German Romanticism, as in the romance general-raw sentiment of rationality and technique. The spirit and the meaning of life through free sat at the end of the eighteenth century German art bases. First romanticism (Frühromantik) Johann Wolfgang von Goethe, the father of German Romanticism. Goethe is the foundation stone of German romanticism and one of the great geniuses of world literature. His early works are linked to the Sturm und Drang movement. After a trip to Italy, however, adopted a more classic style, without sacrificing the romantic themes. Along with Friedrich Schiller and the group called “the German Romantics” (Novalis, ETA Hoffmann and Friedrich Hölderlin) formed a mystical current base-centered history (Geschichte) of the people (volk) opposite the French ideal stratified. It highlights three key issues: opposition to classicism and rationality. Art based on freedom, the feeling and spontaneity. Recovering the original spirit of pan-German people. But this was not your counterpoint, but rather was the Aufklärung (Enlightenment rationalism) that the German Romantics felt need to overcome. The great work of this period is clearly Goethe’s Faust, long and complex philosophical theme dramatic poem, published in two parts. It reflects on human destiny through the story of the protagonist, who sells his soul to the devil for wisdom and youth. Fausto is the intention of the poet, symbol of humanity, who errs when acting, but must act to find salvation. The Fausto is called (with some anticipation context, almost like a prophecy) the first universal tragedy of modernity. Second romanticism (Jüngere Romantik) At this stage of German romanticism produce the greatest classic literature, mostly present in fairy tales. Key to this would be the brothers Grimm, Wilhelm and ETA Hoffmann to produce creations such as Nutcracker, The wolf and the seven little goats, the Bremen Town Musicians, Snow White and the Seven Dwarfs, and Cinderella, among others. In poetry, the romance will have a boost as well, but in the theater prepares the groundwork for a revolution in the art form. Will Georg Buchner’s Woyzeck death of Dalton and markedly influenced Bertolt Brecht to bring the romance and political utopia in stagecraft fused through its dialectical theater. The romance creates not just a pan-Germanic cultural manifestation itself but in the late nineteenth century, the basis of Western aesthetics same; parameters that remain to this day in areas ranging from advertising to art and everyday life. Keine Farbe als romantich ist so ein Ton: romanticism in music German Romantic music was extremely impulsive, as the image of the storm of Nietzschean ubermensch. Schubert, Schumann, Liszt, Brahms inaugurated the German romantic music call-despite his temper also had a special tenderness (eg, ring Lullaby, Brahms). The second generation (posromanticismo German) took the music to the fullest extent of the Romantic tradition, between tragedy and epic. Mendelssohn emphasize sobriety, the masterful understanding of the Strauss waltz and especially the genius of Richard Wagner. Admired by intellectuals and philosophers of all streams, its mix of philosophy, history and music forged height classic The Flying Dutchman, Tristan and Isolde, and Der Ring des Nibelungen. Then close this brilliant chapter of world history in the twentieth century with Schoenberg and his experimentation with sounds and sequences. See also Literature Romanticism Romanticism in Germany post-Romanticism romantic War Bibliography New German School.
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