FRANZ SCHUBERT AND THE MUSICAL ROMANTICISM by Boróka GYARMATHY-BENCZE

Subjects: “…Romanticism…”
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Par-delà Nietzsche by Victor Kocay

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Poética de uma conversão neorromântica: o erotismo religioso de Murilo Mendes by Robson Coelho Tinoco

Subjects: “…romanticism…”
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NICOLAS ASTRINIDIS (1921-2010): COMPOSITIONAL LANGUAGES IN HIS « ‘ DEUX PIÈCES EN STYLE GREC’ » FOR VIOLIN AND PIANO by Vangelis KARAFILLIDIS

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DIE LISZTSCHE IRONIE IN DER SCHILDERUNG DES „MEPHISTOPHELISCHEN“ IM DRITTEN TEIL DER „FAUST-SYMPHONIE“ by Miklós FEKETE

“… The third part (Mephistopheles) of the Faust-Symphony by Liszt brings the transformation and the caricature of the first part (Faust), and hereby the undisguised musical portrayal of the ugliness and the maliciousness, as two of the fundamental ethic and aesthetic (negative) values of the Romanticism. The musical analysis intends to identify and exemplify the most important lisztian procedures, through which the thematic material presented in the musical discourse of the Faust part will be mocked and distorted by the Mephistophelian character. …”
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Dziecięce filozofowanie na tle romantycznej wizji szlachetnego dzikusa J.J. Rousseau by Maria Szczepska-Pustkowska

“…One of such theories was born thanks to Jean Jacques Rousseau (1712–1778), thanks to which the Enlightenment and the Romanticism discovered the noble savage child immersed in nature. …”
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Możliwości współczesnej recepcji utworów Stanisława Jachowicza, dydaktycznej literatury dziewiętnastowiecznej by Beata Telatyńska

“…Prior to the nineteenth century, literature aimed particularly at children did not exist. Only romanticism saw the great potential that the engagement with the topic of childhood offered. …”
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DIE PRÄSENZ DER WERTLICHEN CHARAKTERISTIK MACABRE-OBSTINÉ IN DEN SPÄTEN KLAVIERWERKEN VON FRANZ LISZT by Miklós FEKETE

“…A few of the compositional techniques used for the musical expression of the macabre and obstiné character are already known from the Wiemar-period, but there are a few new lisztian procedures, which occur in these late pieces, and which increase progressively the distances between his style and Romanticism. …”
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