Innovation of Romantics in the field of the language of art - Aesthetics

Innovation of Romantics in the field of the language of art

Along with acute contradictions, romanticism also had undeniable merits. So, undoubtedly the influence of romantics on enriching lexical means in poetry, music, painting. The propensity of romanticism to resist the genre division of arts, to assert the forms of artistic synthesis was extremely progressive for this time. Debunking the classic theory of high and low genres, romantic creativity went on bold experiments and in fact proved the effectiveness of artistic interaction. Exchange processes between different types of arts have always contributed to enriching each other's language. The Romantics' commitment to the idea of ​​the organic integrity of an artistic experience, which recreates the whole wealth of life experience in its indivisibility, served as the development of subtle means for the embodiment of various psychological states. Developing new methods of understatement and ineffability, Romanticism in many respects paved the way for symbolism - the artistic trend that unfolded at the end of the XIX century.

The final stages of romantic creation do not have a single chronology and in different countries are different. The most productive soil of romantic art turned out to be for music, which intensively continued to develop in this womb at a time when romantic literature and painting are already descending. Formation of musical expressive means of romanticism can be found even at the end of the XVIII century. in the creative work L. van Beethoven. The first half of the 19th century was marked by the activity of musicians Romantics F. Schubert, R. Schumann, K. M. Weber, F. Mendelssohn. In the 50's. XIX century. head of the Weimar School, around which the composers were grouped, was F. Sheet. At the same time, actively created G. Berlioz, I. Brahms, R. Wagner.

Thus, the work of romantic musicians covers the entire 19th century; experts even speak of romanticism started in the twentieth century, referring to the later work of Richard Strauss. In a word, the aesthetic principles of romanticism contributed to a wide enrichment of musical expressive means: new alliteration and dissonance were introduced, the dynamic side of harmony was enriched, invented unstable chords, amplified the state of tension, requiring resolution. R. Vagner carried out a grandiose revolution in the field of opera art. Even an inexperienced person in music will feel that the views of this composer are not like the operas of his predecessors. The main innovation of R. Wagner was that he sought to blur the architectonics of individual musical numbers (arias, duets, ensembles), involving them in a through musical and dramatic action. The composer succeeded in his own way embodying the principle of the "totality of the romantic experience" in the artistic modeling of a continuing, unremitting tension throughout the entire act. "Wagner torments the whole acts, not giving a single cadence," - noted later Rimsky-Korsakov.

Concluding the discussion of this topic, we can conclude that the aesthetics of romanticism is primarily the aesthetics of human freedom. The genuinely significant and human, according to the Romantics, is accomplished not outside, but within the personality itself. One should not exaggerate the role of the objective world: the laws of probability, love to repeat romance, exist for people who are devoid of imagination. Human dignity consists in the possibility of free self-realization, to which the sphere of art can not be more conducive.

To be under the rule of art means to get rid of the power of reality, it is in this condition that one can belong to himself. The imagination released to freedom allows you to build yourself, expand and exceed yourself. In the opportunity to live a full-fledged and diverse inner life of romance, they saw a condition for the return to a person of the feeling of the authenticity of his being, the elevation of his dignity.

In the work of romantics, after going through complex historical and cultural labyrinths, the idea of ​​the self-worth of art triumphed. It turned out that, only having achieved the goal in itself, art was able to take on an important culturally creative role of making up for flaws human being. Thus, it is possible to fix a certain paradox: art becomes truly indispensable when, it would seem, maximally concentrates on itself; in other words, only through the embodiment of the principles of self-sufficiency of artistic creativity, art could realize itself as a unique activity, meaningful beyond its limits. A close understanding of the nature and possibilities of art has largely passed into German classical aesthetics.

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