All of these various styles responded to the industrialization of Europe in their own unique fashions, and resulted in a strange conglomeration of art, ideals, and themes. The earliest and perhaps greatest response to industrialization was the era or Romanticism. Disgusted by the squalor and pollution produced by industry, many artists and writers turned to Romanticism, glorifying nature over civilized society and emotion over reason. Romanticism prized natural beauty and despised the materialistic ideals of the Enlightenment and Industrial Revolution. Romantic art tended to revolve around nature or some heroic deed, ignoring or tuning away from industry and logic, and when it did not, it reviled it.
When you hear romanticism, you think lovey dovey? No. It is actually a time frame in the 19th century that was a reaction against much of the thought of the Enlightenment. You could say it was a challenge against the Enlightenment views of not only human beings but of the natural world. The Romantic writers and artist used imagination but in the end it was all reality, where everyone really understood it.
Williams’ play is an example of a modern tragedy and Blanche is a complex tragic hero, as she is embodying both the traditional aspects of a tragic hero, but also introducing the new ideologies simultaneously. Williams introduces glimpses of an Aristotelian tragic hero in Blanche’s entrance. Blanche initially appears to fulfil the criteria of nobility; her arrival in the shabby and deprived setting of New Orleans coupled with her reaction of surprise and disbelief, ‘this- can this- be her home?’ clearly highlights her incompatibility to the surroundings immediately. Williams includes stage directions that allow the reader to build up a strong idea of Blanche’s appearance: ‘Her appearance is incongruous to this setting,’ and her distinct mannerisms. She seems to be superior compared to her surroundings, virginal and demure due to her ‘Southern belle’ upbringing and these traits are obvious in her choice of attire: ‘She is daintily dressed in a white suit with a fluffy bodice, necklace and ear-rings of pearl, white gloves and hat...’ These are expensive garments that denote grandeur and wealth and ultimately purity.
Back in the 1600s Shakespeare wrote plays that would specifically please the Monarch, as there was more pressure to gain acceptance; his comical plays would restore Social Class in the form of marriage. Abigail's Party fails to follow this structure that is used even in modern plays and films, which is why I refer to it as a Social Tragedy, where the social class was broken. Like in Shakespeare's Tragedy 'Romeo and Juliet' the two lovers are married, then torn apart by death as a consequence of a conflicting social class, this can be loosely mirrored in Abigail's Party. A typical example within the play of an unhappy marriage would involve Beverly and Lawrence. Though they are married, which implies a certain amount of love and a strong relationship, they seem to fail at every part of the stereotypical marriage.
In what ways is your appreciation of both texts enhanced by a comparative study of ambition on Frankenstein and Blade runner? Mary Shelley's Frankenstein and Ridley Scott's Bladerunner both project dystopian images of society and morality, propelled by the main characters' ambition and egotism. It is through this that an audience’s appreciation for texts is enhanced. These complex texts can be seen as a pair that differs in context, seeing as they are separated through time. Frankenstein driven by romantic imagery and set in historic context, that analysis the European divide in society perpetuated by superficiality.
Satire and Fantasy in Wilde's 'The Importance of Being Earnest' ROBERT J . J O R D A N H E efforts of critics to rescue The Importance of Being Earnest from the triviality that Wilde claimed for it have led in recent years to two approaches. On the one hand Wilde's epigrammatic wit is analysed as an instrument of social criticism and the play is elevated to seriousness as a satire. On the other hand its fantasy is viewed as an expression of the author's aesthetic creed and so is accorded the dignity of a philosophy. The aim of this article is to consider aspects of both the satire and the fantasy, although the greater weight will be given to the latter as the more important of the two elements.
A great example of this is the famous quote by Emerson, “Who so be a man must be a nonconformist…” because “to be great is to be misunderstood” (115). On the other hand, the reclamation of privileges is a form of isolation in which one realizes that it is not themselves that are deformed, but rather the society. Bebop is the ultimate example of this, because it differed drastically from the straightforward compositions of the swing era and was instead characterized by fast tempos, asymmetrical phrasing, and intricate melodies. The music
We are tempted to think that the soul purpose of Arthur Miller’s play The Crucible was to create an outlet that exposed the mass hysteria of the McCarthy era , however to say this you would be ignoring the central themes that have allowed this play to reach universal audiences. Among themes such as the abuse of power, conflict with authority and mass hysteria The Crucible deals with the importance of identity and the individual conscience. These two themes are closely linked because until you complete your journey in finding yourself you are unable to have an individual conscience. Miller uses one of the central characters in the story, John Proctor, to explore the journey of individual conscience. This theme combined with a unique structure and language allows him to creature a play that addresses the social and political concerns which are essential to every human existence.
Should our intellectual reason be the answers to our imaginative thoughts and desires, or should it be a harmony of reason and moral sense? After the Civil War the greatest nation on earth had more opportunities and more freedom “On the other hand, there was dissatisfaction with problems caused by the industrialization and urbanization, as well. These developments during the Revolution, an artistic, literary and intellectual movement gained strength, which is called Romanticism with Dark Romanticism being one of its subgenres.” (Dincer, 218) Edgar Allan Poe’s “The Tell-Tale Heart” the narrator’s psychological disorder and sense of guilt serves to display the Dark Romanticism within the short story in which shows the human impulse towards irrationality and contrast the Rationalist belief of intellectual reason. The following paper describes the Romantic Movement towards the irrational thought of the human mind and how this ideology was influenced by the Rationalist Movement who believed that logical reasoning was the answer to understanding the human race. Then it shows how Edgar Allan Poe uses gruesome imagery and literary devices to portray the views of Dark Romanticism in his short story the “Tell-Tale Heart”.
Romanticism and realism Romanticism Romanticism gained fame and momentum as a movement of art in the early 19th century and flourished till the 1850s. It was popular in France and Britain. Romanticism, which emerged as a reaction to the disillusionment with enlightenment involving order and reason after the 1789 French revolution, stressed on emotion and imagination. In romantic art, nature provided an appropriate alternative to the thoughts of enlightenment. In this case, nature was considered as unpredictable, had a great potential for extreme disasters and had uncontrollable power.