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The French Revolution had a profound influence on perceptions of the past as well as setting the agenda for modern political culture. This book examines the ways in which the past was rediscovered, retrieved and represented in post-revolutionary France, concentrating upon the Restoration and the July Monarchy, the period which witnessed the promotion of history as a grand discourse of legitimation.
The French Revolution had a profound influence on perceptions of the past as well as setting the agenda for modern political culture. This book examines the ways in which the past was rediscovered, retrieved and represented in post-revolutionary France, concentrating upon the Restoration and the July Monarchy, the period which witnessed the promotion of history as a grand discourse of legitimation.
An interdisciplinary examination of nineteenth-century French art pertaining to religion, exile, and the nation’s demise as a world power, this study concerns the consequences for visual culture of a series of national crises—from the assault on Catholicism and the flight of émigrés during the Revolution of 1789, to the collapse of the Empire and the dashing of hope raised by the Revolution of 1830. The central claim is that imaginative response to these politically charged experiences of loss constitutes a major shaping force in French Romantic art, and that pursuit of this theme in light of parallel developments in literature and political debate reveals a pattern of disenchantment transmuted into cultural capital. Focusing on imagery that spoke to loss through visual and verbal idioms particular to France in the aftermath of the Revolution and Empire, the book illuminates canonical works by major figures such as Eugène Delacroix, Théodore Chassériau, and Camille Corot, as well as long-forgotten images freighted with significance for nineteenth-century viewers. A study in national bereavement—an urgent theme in the present moment—the book provides a new lens through which to view the coincidence of imagination and strife at the heart of French Romanticism. The book will be of interest to scholars working in art history, French literature, French history, French politics, and religious studies.
Introduction: Mechanical Romanticism -- DEVICES OF COSMIC UNITY -- Ampère's Experiments: Contours of a Cosmic Cubstance -- Humboldt's Instruments: Even the Tools Will Be Free -- Arago's Daguerreotype: The Labor Theory of Knowledge -- SPECTACLES OF CREATION AND METAMORPHOSIS -- The Devil's Opera: Fantastic Physiospiritualism -- Monsters, Machine-Men, Magicians: The Automaton in the Garden -- ENGINEERS OF ARTIFICIAL PARADISES -- Saint-Simonian Engines: Love and Conversions -- Leroux's Pianotype: The Organogenesis of Humanity -- Comte's Calendar: From Infinite Universe to Closed World -- Conclusion: Afterlives of the Romantic Machine.
Focusing on the Paris book world of this period, Allen reveals how the rise of a new popular literature—jolly chansonniers, the roman-feuilletons or serial novels, melodramas, gothic and sentimental novels, dramatic nationalistic histories—by such authors as Dumas, Sand, Lamennais, Ancelot, Desnoyer, and de Kock coincided with remarkable developments in the production, distribution, and consumption of books. Allen's research ranges from a survey of the then-popular romantic titles and authors and the trade catalogs of booksellers and lending libraries, to the police records of their activities, diaries and journals of working people, and military conscript records and ministerial literacy statistics. The result is a remarkable picture of the exchange between elite and popular culture, the interaction between ideas and their material reality, and the relationship between the literature and the history of France in the romantic period.
Excerpt from Music and the Romantic Movement in France The study of the evolution of art and music in connection with contemporary social and political conditions has been urged on the ground that an understanding of the general life of any period is necessary to a svmpathetic understanding of the artistic production of that period. Some argue, on the other hand, that the study of art is, in fact, a study of the history of man and that it illuminates the study of history rather than vice versa. The truth is that, in studying either art or history. Certain general causes appear which in uence the development of both artistic and political ideas. Whatever we learn about these fundamental causes - whether in art or history - the knowledge we gain can always be helpful in unravelling any problems of art-development or of history that we try to solve. For the general underlying causes behind the changes which came at the end of the eighteenth and the beginning of the nineteenth centuries, I have drawn freely, in the present essay, upon various authorities. I am largely indebted to Professor Irving Babbitt of Harvard University, whose lectures have provided the main stimulus for the present study and whose book Rousseau and Romanticism (houghton and Mif in, Boston, 1919) is a definitive exposition of the many phases of the romantic point of view. My effort has been, after giving the reader a brief description of the intellectual background of the romantic period, to set against this background the prominent figures in the niusical life of France, with the double object, first, of placing each composer in the light which the understanding of the background throws on his work, and, second, of showing what each contributed to the main current of romanticism. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works."
In Romanticism and the Rise of History, Bann argues that history came of age in Europe during the period following the French Revolution through the end of the nineteenth century, becoming an object of widespread desire. As one perhaps mildly astonished scholar noted later, it was a time when "the most simple-minded farmhand" was "able to distinguish an old belfry from a new one", and, Bann might add, perceive value in the old one. To draw the reader into his exploration of the nineteenth century's "discovery of history", Bann presents twenty-five images from the period - engravings, oil paintings, sculptures, watercolors - that appear to both represent and interact with the past. Does the suit of armor standing at Walter Scott's shoulder in Sir John Watson Gordon's portrait validate the image of the author as rightful custodian of the past and its relics, or is it Scott who through his imaginative interpretation of history imbues this shell of knighthood with lasting significance?