Post-romanticism
Post-romanticism or Postromanticism refers to a range of cultural endeavors and attitudes emerging in the late nineteenth and early twentieth centuries, after the period of Romanticism.
Post-romanticism
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Post-romanticism or Postromanticism refers to a range of cultural endeavors and attitudes emerging in the late nineteenth and early twentieth centuries, after the period of Romanticism.
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In music
In music
Post-romanticism in music refers to composers who wrote classical symphonies, operas, and songs in transitional style that constituted a blend of late romantic and early modernist musical languages. Arthur Berger described the mysticism of La Jeune France as post-Romanticism rather than neo-Romanticism. Post-romantic composers created music that used traditional forms combined with advanced harmony. Kaikhosru Shapurji Sorabji created post-romantic nocturnes that used unconventional harmonic language and Béla Bartók, for example, "in such Strauss-influenced works as Duke Bluebeard's Castle", may be described as having still used "dissonance ['such intervals as fourths and sevenths'] in traditional forms of music for purposes of post-romantic expression, not simply always as an appeal to the primal art of sound".
Other notable post-romantic composers
Other notable post-romantic composers
• Richard Wagner • Giacomo Puccini • Richard Strauss • Gustav Mahler • Jean Sibelius • Alexander Scriabin • Sergei Rachmaninoff • Modest Mussorgsky • Kaikhosru Shapurji Sorabji
Notable post-romantic writers
• Herman Melville • Thomas Carlyle • Gustave Flaubert
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- “Post-romanticism”, English Wikipedia, consulted as further reading
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In literature
The period of post-romanticism in poetry is defined as the mid-to-late nineteenth century, but includes the much earlier poetry of Letitia Elizabeth Landon and Tennyson.
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These works are cited by the source article, in its own numbering. They are recorded as its citations, not as sources VALÉORINE has verified.
- 1.Faith Lagay. Hawthorne's 'Birthmark': Is There a Post-Romantic Lesson for the 'Men of Science'?. Virtual Mentor. 8. 541–544. August 2006. 10.1001/virtualmentor.2006.8.8.mhum1-0608.
- 2.Zwierlein, Anne-Julia. A history of British poetry: Genres, developments, interpretations. WVT Wissenschaftlicher Verlag Trier. 243-256. 2015. 978-3-86821-578-6.
- 3.Richard Bradford, A Linguistic History of English Poetry, New York: Routledge, 1993, p. 134. .
- 4.Robert Milder, Exiled Royalties: Melville and the Life We Imagine, New York: Oxford University Press, 2006, p. 41.
- 5.Stephen Heath, Gustave Flaubert, Madame Bovary, Cambridge and New York: Cambridge University Press, 1992, p. 13. .
- 6.Virgil Thomson. Virgil Thomson: A Reader: Selected Writings, 1924–1984, edited by Richard Kostelanetz, New York: Routledge, 2002, p. 268. .
- 7.Daniel Albright. Modernism and Music: An Anthology of Sources, Chicago: University of Chicago Press, 2004, pp. 243–244. .
- 8."Period: Late– Post-Romantic", Nolan Gasser, Classical Archives
Bibliography printed in the source article · 3
- Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. A History of Western Music, 7th ed., New York: W. W. Norton, 2006.
- Pappas, Sara. Review of Claudia Moscovici, Romanticism and Postromanticism (Lanham, Maryland: Lexington Books, 2007). Nineteenth-Century French Studies. University of Nebraska Press. 36. 3 & 4. 335–337. Spring–Summer 2008. 10.1353/ncf.0.0035.
- Tilby, Michael. Review of Claudia Moscovici, Romanticism and Postromanticism. French Studies: A Quarterly Review, vol. 62, no. 4, October 2008, pp. 486–487.
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