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Looking for a particular old photo? Just ask! We have a large archive collection. Lowry's Little Flock Farm. Fourth of July Parade. Accuracy of observation, however, was not sought for its own sake. Romantic nature poetry is essentially a poetry of meditation. Symbolism and Myth Symbolism and myth were given great prominence in the Romantic conception of art. In the Romantic view, symbols were the human aesthetic correlatives of nature's emblematic language.
They were valued too because they could simultaneously suggest many things, and were thus thought superior to the one-to-one communications of allegory.
Partly, it may have been the desire to express the "inexpressible"--the infinite--through the available resources of language that led to symbol at one level and myth as symbolic narrative at another. Emphasis on the activity of the imagination was accompanied by greater emphasis on the importance of intuition, instincts, and feelings, and Romantics generally called for greater attention to the emotions as a necessary supplement to purely logical reason.
When this emphasis was applied to the creation of poetry, a very important shift of focus occurred. Wordsworth's definition of all good poetry as "the spontaneous overflow of powerful feelings" marks a turning point in literary history. By locating the ultimate source of poetry in the individual artist, the tradition, stretching back to the ancients, of valuing art primarily for its ability to imitate human life that is, for its mimetic qualities was reversed.
In Romantic theory, art was valuable not so much as a mirror of the external world, but as a source of illumination of the world within. Among other things, this led to a prominence for first-person lyric poetry never accorded it in any previous period. The "poetic speaker" became less a persona and more the direct person of the poet. Wordsworth's Prelude and Whitman's "Song of Myself" are both paradigms of successful experiments to take the growth of the poet's mind the development of self as subject for an "epic" enterprise made up of lyric components.
Confessional prose narratives such as Goethe's Sorrows of Young Werther and Chateaubriand's Rene , as well as disguised autobiographical verse narratives such as Byron's Childe Harold , are related phenomena. The interior journey and the development of the self recurred everywhere as subject material for the Romantic artist. The artist-as-hero is a specifically Romantic type. Contrasts With Neoclassicism Consequently, the Romantics sought to define their goals through systematic contrast with the norms of "Versailles neoclassicism.
We have already noted two major differences: the replacement of reason by the imagination for primary place among the human faculties and the shift from a mimetic to an expressive orientation for poetry, and indeed all literature. In addition, neoclassicism had prescribed for art the idea that the general or universal characteristics of human behavior were more suitable subject matter than the peculiarly individual manifestations of human activity.
From at least the opening statement of Rousseau's Confessions , first published in "I am not made like anyone I have seen; I dare believe that I am not made like anyone in existence. If I am not superior, at least I am different. The Everyday and the Exotic The attitude of many of the Romantics to the everyday, social world around them was complex.
It is true that they advanced certain realistic techniques, such as the use of "local color" through down-to-earth characters, like Wordsworth's rustics, or through everyday language, as in Emily Bronte's northern dialects or Whitman's colloquialisms, or through popular literary forms, such as folk narratives. Yet social realism was usually subordinate to imaginative suggestion, and what was most important were the ideals suggested by the above examples, simplicity perhaps, or innocence.
Earlier, the 18th-century cult of the noble savage had promoted similar ideals, but now artists often turned for their symbols to domestic rather than exotic sources--to folk legends and older, "unsophisticated" art forms, such as the ballad, to contemporary country folk who used "the language of commen men," not an artificial "poetic diction," and to children for the first time presented as individuals, and often idealized as sources of greater wisdom than adults.
My dream is to be a successful hedge fund manager in New York. I came to New York City from Haiti to continue my studies and to experience many interesting cultures and people. My dream is to establish and run a non-profit organization to help our youth realize their creativeness and encourage them to dream big. I'm a first-generation college student of Polish immigrants, and I love science! My dream is to become a physicist and start a research and development firm.
I also dream to be a PhD one day so people can call me Dr. I enjoy cooking and the culinary arts; and I feel more confident as I learn more about baking and cooking. My dream is to own my own food truck and dessert bar. As a child, I often had epileptic seizures and as a result, it was difficult for me to make and keep friends because they didn't understand what was happening to me. But coming to Kingsborough has helped me to develop so much confidence that I am now treasurer of the Society for the Advancement of Management, and have found wonderful friends and support.
My dream is to be a music producer and working in Hollywood. I'm a retired speech pathologist, and have always been interested in Art but not confident enough to create a piece of art myself. I am so grateful that the My Turn program at Kingsborough has offered me an opportunity to express myself through painting; it's almost like a second dream.
I love being surrounded by all the positive energy in the studio. My next dream is to paint a picture that I can hang on my wall.
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