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From Wikipedia, the free encyclopedia

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 in literature

The period of post-romanticism in poetry is defined as the mid-to-late nineteenth century,[1] but includes the much earlier poetry of Letitia Elizabeth Landon[2] and Tennyson.[3]

List of notable post-romantic writers

Post-romanticism 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.[7]

Post-romantic composers created music that used traditional forms combined with advanced harmony. 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".[8]

List of other notable post-romantic composers


  1. ^ Hawthrone's "Birthmark": Is There a Post-Romantic for the "Men of Science"|Journal of Ethics|American Medical Association
  2. ^ Sybille Baumback and others, "A History of British Poetry", Trier: WVT. ISBN 978-3-86821-578-6. Section 19: Poetic Genres in the Victorian Age I: Letitia Elizabeth Landon’s and Alfred Lord Tennyson’s Post-Romantic Verse Narratives by Anne-Julia Zwierlein.
  3. ^ Richard Bradford, A Linguistic History of English Poetry, New York: Routledge, 1993, p. 134. ISBN 0-415-07057-0.
  4. ^ Robert Milder, Exiled Royalties: Melville and the Life We Imagine, New York: Oxford University Press US, 2006, p. 41. ISBN 0-19-514232-2
  5. ^ Robert Milder, Exiled Royalties: Melville and the Life We Imagine, New York: Oxford University Press US, 2006, p. 41. ISBN 0-19-514232-2
  6. ^ Stephen Heath, Gustave Flaubert, Madame Bovary, Cambridge and New York: Cambridge University Press, 1992, p. 13. ISBN 0-521-31483-6.
  7. ^ Virgil Thomson,. Virgil Thomson: A Reader: Selected Writings, 1924-1984, edited by Richard Kostelanetz, New York: Routledge, 2002p. 268. ISBN 0-415-93795-7.
  8. ^ Daniel Albright,. Modernism and Music: An Anthology of Sources, Chicago: University of Chicago Press, 2004pp. 243-44. ISBN 0-226-01267-0.
  9. ^ Classical Archives: period: Late-Post Romantic
  10. ^ Classical Archives: period: Late-Post Romantic
  11. ^ Classical Archives: period: Late-Post Romantic
  12. ^ Classical Archives: period: Late-Post Romantic
  13. ^ Classical Archives: period: Late-Post Romantic
  14. ^ Classical Archives: period: Late-Post Romantic
  15. ^ Classical Archives: period: Late-Post Romantic

Further reading

  • Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. A History of Western Music: Seventh Edition. New York: W.W. Norton & Company, 2006.
  • Pappas, Sara. Review of Claudia Moscovici, Romanticism and Postromanticism (Lanham, MD: Lexington Books, 2010). Nineteenth Century French Studies, Volume 36, Number 3 & 4, Spring-Summer 2008, pp. 335–37. University of Nebraska Press, 2008.
  • Tilby, Michael. Review of Claudia Moscovici, Romanticism and Postromanticism (Lanham, MD: Lexington Books, 2010). French Studies: A Quarterly Review, Volume 62, Number 4, October 2008, pp. 486–87.

See also

External links

This page was last edited on 19 December 2020, at 18:24
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