Podcasts about German Romanticism

It's always felt like we flute players weren't invited to the Romantic party. Whilst Beethoven, Wagner and Mahler were playing beer pong, we were at home tooting our own flutes. So this week, I look at why that is, along with the Jena German Romanticism movement, the response to The Enlightenment, and how the French screwed it all up.Grma xInline G Merch

About Ghost MusicIt's only been a month since Dawn's musician husband, Clark, suddenly died. When his former student shows up with missing pages from Clark's unfinished book, voices from the pages are reawakened. A portal from the past cracks open, transporting us back to German Romanticism and renowned pianist Clara Schumann. As she desperately tries to preserve the dignity of her husband, the brilliant composer Robert Schumann, he descends further and further into madness. Separated by a gulf of both time and space, Dawn and Clara grapple with grief and lunacy, and the hope that long-ago melodies can heal their broken hearts.This production is sponsored in part by the AthensWest Emerging Play Grant awarded to the theater program and sabbaticals for both Dr. Greg Partain and Professor Tosha Fowler. The production will feature a team of professional actors and a director working in residence at Transylvania. The production will include the live musical performance of Dr. Greg Partain as an essential component of the play's concept and design. Professor Tosha Fowler will be helming the role of Clara as well as head producer. Professors Daniel Bennett and Melissa Gilbert will lead the design team.For more and to connect with us, visit https://www.artsconnectlex.org/art-throb-podcast.html

This Day in Legal History: Fair Housing ActOn this day in legal history, April 11, 1968, President Lyndon B. Johnson signed the Civil Rights Act of 1968 into law, a pivotal expansion of civil rights protections in the United States. Commonly referred to as the Fair Housing Act, the legislation was enacted just days after the assassination of Dr. Martin Luther King Jr., whose legacy of nonviolent activism heavily influenced its passage. The law made it illegal to discriminate in the sale, rental, financing, or advertising of housing based on race, color, religion, or national origin.It aimed to dismantle the systemic barriers that had long segregated American cities and suburbs, including redlining, racially restrictive covenants, and other discriminatory practices. Title VIII of the Act directly addressed these inequities and empowered the federal government to enforce fair housing standards for the first time. Though political resistance to housing integration had stalled similar legislation for years, the national mourning following Dr. King's death shifted public and congressional sentiment.Johnson, in a nationally televised address, described the signing as a tribute to Dr. King's life and a necessary step toward realizing the full promise of civil rights in America. Subsequent amendments expanded protections to include sex, disability, and familial status, making the Fair Housing Act one of the most comprehensive civil rights laws on the books. Enforcement mechanisms, however, remained a challenge, and litigation over housing discrimination has continued into the present day.The law has been central to major legal battles over zoning laws, gentrification, and access to affordable housing. It also laid the groundwork for subsequent legislation aimed at combating economic and racial segregation. While the Act did not instantly eliminate housing discrimination, it marked a legal turning point that recognized the home as a critical site of equality and opportunity.A small team from the Department of Government Efficiency (DGE), created under Elon Musk's initiative to reduce government spending and staffing, has arrived at the Federal Deposit Insurance Corp. (FDIC), according to an internal email from the agency. While the team is working with FDIC leadership to identify internal efficiencies, it does not have access to sensitive or confidential bank data, including resolution plans, deposit insurance records, or examination materials. The FDIC emphasized that the DGE operatives are full-time federal employees working under formal interagency agreements and have not sought access to confidential information.DGE has previously drawn concern from industry participants during its visit to the Consumer Financial Protection Bureau due to fears over data exposure. The FDIC oversees highly sensitive information about major U.S. banks and their failure plans, which regulators rely on during crises. The number and identity of DGE team members at the FDIC have not been disclosed, and the agency declined to comment further.The agency is also preparing for staff reductions, following the Trump administration's deferred resignation program that has already led to the loss of 500 FDIC employees. Additional buyouts and formal layoffs are expected soon. The timing of DGE's involvement comes as global markets react to new tariffs announced by President Trump, prompting concerns from former officials about weakening regulators' ability to respond to potential financial instability.DOGE Arrives at FDIC but Doesn't Have Access to Bank Data (2)At least three major law firms—Kirkland & Ellis, Latham & Watkins, and Simpson Thacher & Bartlett—are in talks with the Trump administration to reach a joint agreement that would commit over $300 million in pro bono services to causes favored by the White House. The potential deal is also intended to resolve federal investigations into the firms' diversity programs, which the administration has scrutinized for alleged discriminatory practices. If finalized, the arrangement would bring the total pledged in pro bono services from various firms to at least $640 million.President Trump, speaking at a Cabinet meeting, hinted that a handful of firms remain in negotiations, emphasizing that many firms have already paid significant sums or made concessions. He stated that he expects lawyers from participating firms to assist with policy efforts such as implementing tariffs and expanding coal mining.The administration has previously targeted several firms with executive orders for representing causes or clients viewed as oppositional to Trump's agenda. These orders have included punitive measures such as revoking security clearances and restricting federal access. Some firms—like Perkins Coie and Jenner & Block—have successfully blocked these actions in court, while others like Paul Weiss settled by agreeing to pro bono contributions. Firms such as Skadden and Milbank preemptively negotiated similar deals.Trump Talks Deal With Three Massive Law Firms as Others FightA U.S. immigration judge is set to rule today on whether Mahmoud Khalil, a Palestinian student activist at Columbia University, can be deported. Khalil, who holds Algerian citizenship and became a lawful U.S. permanent resident last year, was arrested last month at his New York City apartment and transferred to an immigration jail in rural Louisiana. Secretary of State Marco Rubio has called for Khalil's removal under the 1952 Immigration and Nationality Act, arguing that his presence in the U.S. poses foreign policy risks due to his role in pro-Palestinian campus protests.Rubio's letter to the court claims Khalil was involved in “antisemitic protests and disruptive activities” but does not accuse him of any crimes. Instead, Rubio argues the government can revoke legal status based solely on speech or associations if deemed harmful to U.S. interests. Khalil's attorneys say the case is an attempt to punish constitutionally protected speech and have called the letter politically motivated and authoritarian in tone.They are requesting to subpoena and depose Rubio as part of their defense. The immigration court hearing the case operates under the Department of Justice and is separate from the federal judiciary. Khalil is also suing in a New Jersey federal court, alleging that his arrest, detention, and transfer far from his legal team and family were unconstitutional.US immigration judge to decide whether Columbia student Mahmoud Khalil can be deported | ReutersPresident Trump signed a bill nullifying a revised IRS rule that would have broadened the definition of a “broker” to include decentralized cryptocurrency exchanges, or DeFi platforms. The rule, finalized in the final weeks of the Biden administration, was part of a broader IRS effort to tighten crypto tax enforcement and was rooted in the 2021 Infrastructure Investment and Jobs Act. It would have required DeFi platforms to report user transactions to both the IRS and the users themselves.The crypto industry strongly opposed the rule, arguing that DeFi platforms do not function like traditional brokers and lack access to user identities, making compliance impossible. Centralized exchanges like Coinbase and Kraken, by contrast, already meet these reporting requirements as intermediaries. Both the House and Senate voted in March to repeal the IRS rule through the Congressional Review Act, which allows Congress to overturn recent federal regulations with a majority vote.Trump, who has positioned himself as a pro-crypto candidate, had campaigned on promises to support digital asset innovation. Since taking office, he has formed a federal cryptocurrency working group and signed an executive order to establish a national bitcoin reserve.Trump signs bill to nullify expanded IRS crypto broker rule | ReutersThis week's closing theme takes us back to April 13, 1850, when Richard Wagner's opera Lohengrin premiered in Weimar under the baton of his friend and supporter, Franz Liszt. Wagner, one of the most influential and controversial figures in classical music, was then in political exile, and unable to attend the debut of what would become one of his most iconic works. Known for his revolutionary approach to opera—melding music, drama, and mythology—Wagner crafted Lohengrin as a sweeping, mystical tale of a knight of the Holy Grail who arrives in a swan-drawn boat to defend the innocent Elsa of Brabant. The opera's shimmering textures, leitmotif-driven score, and spiritual overtones would set the stage for his later monumental works like Tristan und Isolde and the Ring Cycle.Lohengrin remains best known for its third-act bridal chorus—“Here Comes the Bride”—but the opera's deeper themes of identity, trust, and the cost of forbidden questions give it lasting emotional and philosophical weight. Set in a quasi-medieval world laced with mystery, the opera tells of a hero who must depart the moment his name is asked, leaving love suspended in silence. Wagner's orchestration in Lohengrin is luminous and patient, often evoking shimmering water and distant prophecy, with long-breathed phrases that seem to float above time.As a closing theme for this week, Lohengrin invites reflection—on belief, on leadership, and on how history so often pivots on names, silence, and the tension between loyalty and doubt. Its premiere on April 13th marks not only a moment in Wagner's evolution as a composer but also a cultural point of departure, where German Romanticism began leaning toward something darker and more transcendental. We end the week, then, with the slow unfurling of Lohengrin's prelude: a gentle, ascending shimmer that begins almost imperceptibly, and rises—like the swan on the river—toward the unknown.This week, we close with the prelude to Lohengrin by Richard Wagner—music of undeniable beauty from a composer whose legacy includes both brilliance and deeply troubling beliefs. We share it for its artistry, not its ideology. Without further ado, Richard Wagner's Lohengrin, the prelude. Enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

I am very excited to bring to you the first of a new music mini-series all about the rise of music and art in Germany/Austria and its extreme cultural implications which may or may not be true. This may be some of most dense work in a while so please get comfy. As I learned it, the rise of German Romanticism led to its ultimate demise at the beginning of the 20th century. I'm going to lay the groundwork for a rebuttal or two against that and so much more. Sit back, relax and EDIFY.Get a copy of my very first book "World War YOU" PAPERBACK and KINDLE: https://a.co/d/fYOAfDj EBOOK: https://books2read.com/u/mBAx6O Venmo me for support @Jorge-Mesa-11Join my Patreon to help support all of my EDIFYING future content along with some unique perks and exclusive content: http://www.Patreon.com/ThirdEyeEdifyCheck out the Third Eye Edify Website: http://thirdeyeedify.com Check out awesome Third Eye Edify Merch!:https://thirdeyeedify.creator-spring.com/ Check out my wife Petri's Amazing new Podcast!: https://earthsidebirth.org/enter-podcast Do you Play Bass Guitar? Join my exciting new Bass Player University! https://jorgemesamusic.com/bassplayeruniversity Join my Telegram group: https://t.me/ThirdEyeEdify Check out my Linktree: https://linktr.ee/thirdeyeedify Please Like and Subscribe on Patreon, Substack, Bitchute, YouTube and all major Podcast sites: #thirdeyeedifypodcast Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Episode No. 692 features curators Alison Hokanson and Joanna Sheers Seidenstein, and Danielle Canter.  Hokanson and Seidenstein are the co-curators of "Caspar David Friedrich: The Soul of Nature," which opens at the Metropolitan Museum of Art this weekend and is on view through May 11. It is the first retrospective of the German Romantic artist's work in the United States. Friedrich was a leader in German Romanticism, which offered new understandings of the relationship between humans and the natural world. Last year was the 250th anniversary of Friedrich's birth. The Met has published an excellent catalogue of the exhibition. Amazon and Bookshop offer it for $45-50.  Canter is the curator of "A Brush with Nature: Romantic Landscape Drawings," which opens at the J. Paul Getty Museum on Feb. 18. The exhibition features dozens of drawings in which artists such as J.M.W. Turner, Théodore Géricault, and Friedrich respond to the natural world around them. "A Brush with Nature" will be on view through May 25.  Instagram: Alison Hokanson, Joanna Sheers Seidenstein, Tyler Green.

For those devoted to the Rosicrucian tradition, Christopher McIntosh needs no introduction. In this conversation, Rudolf brings us closer to the man behind the foundational works that have shaped our understanding of Rosicrucianism. His books—The Rosicrucians, The Rose Cross and the Age of Reason, and his recent Rosicrucian Trilogy containing new translations of the original three Manifestos—stand as indispensable guides through the movement's rich history and symbolic mysteries. McIntosh, a widely respected speaker on Rosicrucianism's historical context, now opens a more personal window into the motivations and philosophies that drive his work, demonstrating how his passion for these mysteries can continue to inspire seekers today. In perfect timing with Pansopher's recent relaunch, McIntosh unveils a deeply personal narrative that intertwines with the cultural and spiritual backdrop of Germany—expanding his focus to explore the often-overlooked roots of the German occult tradition. In his latest book, Occult Germany, he draws on three decades of personal experience living in Germany to reveal the subtle influences and hidden currents that have helped shaped modern occultism. In this conversation, McIntosh offers his perspective on how these forces have worked behind the scenes, nurturing the esoteric landscape in ways that are both illuminating and unexpected. Exploring Germany's rich contributions to alchemy, theosophy, and Rosicrucianism, McIntosh brings us even deeper, turning to the often-overlooked realms of German folk and pagan traditions. This area, rarely discussed in esoteric circles—especially given the cultural aftermath of WWII—emerges here as a key influence on modern occultism. McIntosh unpacks the enduring legacy of German Romanticism, Wagner's mythic visions, the Grail legends, and figures like Gustav Meyrink, all of whom contribute to the rich and largely untold story of Germany's spiritual heritage. Music played in this episode In context with the content of our talk, the music for this episode is German - but from VERY different times and styles. And the music all comes to us from German women! 1) CLARA SCHUMANN - "Ich stand in dunklen Träumen", Op. 13 No. 1(I stood in dark dreams) Arranged for Oboe, Cello and Piano (Track starts at 6:14) 2) MARLENE DIETRICH - "Wenn ich mir was wünschen dürfte"(If I could make a wish) (Track starts at 48:30) 3) NICOLE - "Ein bisschen Frieden" (A little bit of Peace)Live at Eurovision Song Contest 1982 (Track starts at 1:34:57) Intro and Outro Musicespecially written and recorded for the Pansophers Podcast by Chris Roberts

Since the mid-1700s, poets and scholars have been deeply entangled in the project of reinventing prophecy. Moving between literary and biblical studies, Yosefa Raz's book The Poetics of Prophecy: Modern Afterlives of a Biblical Tradition (Cambridge UP, 2023) reveals how Romantic poetry is linked to modern biblical scholarship's development. On the one hand, scholars, intellectuals, and artists discovered models of strong prophecy in biblical texts, shoring up aesthetic and nationalist ideals, while on the other, poets drew upon a counter-tradition of destabilizing, indeterminate, weak prophetic power. Yosefa Raz considers British and German Romanticism alongside their margins, incorporating Hebrew literature written at the turn of the twentieth century in the Russia Empire. Ultimately she explains the weakness of modern poet-prophets not only as a crisis of secularism but also, strikingly, as part of the instability of the biblical text itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Since the mid-1700s, poets and scholars have been deeply entangled in the project of reinventing prophecy. Moving between literary and biblical studies, Yosefa Raz's book The Poetics of Prophecy: Modern Afterlives of a Biblical Tradition (Cambridge UP, 2023) reveals how Romantic poetry is linked to modern biblical scholarship's development. On the one hand, scholars, intellectuals, and artists discovered models of strong prophecy in biblical texts, shoring up aesthetic and nationalist ideals, while on the other, poets drew upon a counter-tradition of destabilizing, indeterminate, weak prophetic power. Yosefa Raz considers British and German Romanticism alongside their margins, incorporating Hebrew literature written at the turn of the twentieth century in the Russia Empire. Ultimately she explains the weakness of modern poet-prophets not only as a crisis of secularism but also, strikingly, as part of the instability of the biblical text itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Since the mid-1700s, poets and scholars have been deeply entangled in the project of reinventing prophecy. Moving between literary and biblical studies, Yosefa Raz's book The Poetics of Prophecy: Modern Afterlives of a Biblical Tradition (Cambridge UP, 2023) reveals how Romantic poetry is linked to modern biblical scholarship's development. On the one hand, scholars, intellectuals, and artists discovered models of strong prophecy in biblical texts, shoring up aesthetic and nationalist ideals, while on the other, poets drew upon a counter-tradition of destabilizing, indeterminate, weak prophetic power. Yosefa Raz considers British and German Romanticism alongside their margins, incorporating Hebrew literature written at the turn of the twentieth century in the Russia Empire. Ultimately she explains the weakness of modern poet-prophets not only as a crisis of secularism but also, strikingly, as part of the instability of the biblical text itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Since the mid-1700s, poets and scholars have been deeply entangled in the project of reinventing prophecy. Moving between literary and biblical studies, Yosefa Raz's book The Poetics of Prophecy: Modern Afterlives of a Biblical Tradition (Cambridge UP, 2023) reveals how Romantic poetry is linked to modern biblical scholarship's development. On the one hand, scholars, intellectuals, and artists discovered models of strong prophecy in biblical texts, shoring up aesthetic and nationalist ideals, while on the other, poets drew upon a counter-tradition of destabilizing, indeterminate, weak prophetic power. Yosefa Raz considers British and German Romanticism alongside their margins, incorporating Hebrew literature written at the turn of the twentieth century in the Russia Empire. Ultimately she explains the weakness of modern poet-prophets not only as a crisis of secularism but also, strikingly, as part of the instability of the biblical text itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

Since the mid-1700s, poets and scholars have been deeply entangled in the project of reinventing prophecy. Moving between literary and biblical studies, Yosefa Raz's book The Poetics of Prophecy: Modern Afterlives of a Biblical Tradition (Cambridge UP, 2023) reveals how Romantic poetry is linked to modern biblical scholarship's development. On the one hand, scholars, intellectuals, and artists discovered models of strong prophecy in biblical texts, shoring up aesthetic and nationalist ideals, while on the other, poets drew upon a counter-tradition of destabilizing, indeterminate, weak prophetic power. Yosefa Raz considers British and German Romanticism alongside their margins, incorporating Hebrew literature written at the turn of the twentieth century in the Russia Empire. Ultimately she explains the weakness of modern poet-prophets not only as a crisis of secularism but also, strikingly, as part of the instability of the biblical text itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

Since the mid-1700s, poets and scholars have been deeply entangled in the project of reinventing prophecy. Moving between literary and biblical studies, Yosefa Raz's book The Poetics of Prophecy: Modern Afterlives of a Biblical Tradition (Cambridge UP, 2023) reveals how Romantic poetry is linked to modern biblical scholarship's development. On the one hand, scholars, intellectuals, and artists discovered models of strong prophecy in biblical texts, shoring up aesthetic and nationalist ideals, while on the other, poets drew upon a counter-tradition of destabilizing, indeterminate, weak prophetic power. Yosefa Raz considers British and German Romanticism alongside their margins, incorporating Hebrew literature written at the turn of the twentieth century in the Russia Empire. Ultimately she explains the weakness of modern poet-prophets not only as a crisis of secularism but also, strikingly, as part of the instability of the biblical text itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Since the mid-1700s, poets and scholars have been deeply entangled in the project of reinventing prophecy. Moving between literary and biblical studies, Yosefa Raz's book The Poetics of Prophecy: Modern Afterlives of a Biblical Tradition (Cambridge UP, 2023) reveals how Romantic poetry is linked to modern biblical scholarship's development. On the one hand, scholars, intellectuals, and artists discovered models of strong prophecy in biblical texts, shoring up aesthetic and nationalist ideals, while on the other, poets drew upon a counter-tradition of destabilizing, indeterminate, weak prophetic power. Yosefa Raz considers British and German Romanticism alongside their margins, incorporating Hebrew literature written at the turn of the twentieth century in the Russia Empire. Ultimately she explains the weakness of modern poet-prophets not only as a crisis of secularism but also, strikingly, as part of the instability of the biblical text itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Since the mid-1700s, poets and scholars have been deeply entangled in the project of reinventing prophecy. Moving between literary and biblical studies, Yosefa Raz's book The Poetics of Prophecy: Modern Afterlives of a Biblical Tradition (Cambridge UP, 2023) reveals how Romantic poetry is linked to modern biblical scholarship's development. On the one hand, scholars, intellectuals, and artists discovered models of strong prophecy in biblical texts, shoring up aesthetic and nationalist ideals, while on the other, poets drew upon a counter-tradition of destabilizing, indeterminate, weak prophetic power. Yosefa Raz considers British and German Romanticism alongside their margins, incorporating Hebrew literature written at the turn of the twentieth century in the Russia Empire. Ultimately she explains the weakness of modern poet-prophets not only as a crisis of secularism but also, strikingly, as part of the instability of the biblical text itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biblical-studies

Since the mid-1700s, poets and scholars have been deeply entangled in the project of reinventing prophecy. Moving between literary and biblical studies, Yosefa Raz's book The Poetics of Prophecy: Modern Afterlives of a Biblical Tradition (Cambridge UP, 2023) reveals how Romantic poetry is linked to modern biblical scholarship's development. On the one hand, scholars, intellectuals, and artists discovered models of strong prophecy in biblical texts, shoring up aesthetic and nationalist ideals, while on the other, poets drew upon a counter-tradition of destabilizing, indeterminate, weak prophetic power. Yosefa Raz considers British and German Romanticism alongside their margins, incorporating Hebrew literature written at the turn of the twentieth century in the Russia Empire. Ultimately she explains the weakness of modern poet-prophets not only as a crisis of secularism but also, strikingly, as part of the instability of the biblical text itself.

Since the mid-1700s, poets and scholars have been deeply entangled in the project of reinventing prophecy. Moving between literary and biblical studies, Yosefa Raz's book The Poetics of Prophecy: Modern Afterlives of a Biblical Tradition (Cambridge UP, 2023) reveals how Romantic poetry is linked to modern biblical scholarship's development. On the one hand, scholars, intellectuals, and artists discovered models of strong prophecy in biblical texts, shoring up aesthetic and nationalist ideals, while on the other, poets drew upon a counter-tradition of destabilizing, indeterminate, weak prophetic power. Yosefa Raz considers British and German Romanticism alongside their margins, incorporating Hebrew literature written at the turn of the twentieth century in the Russia Empire. Ultimately she explains the weakness of modern poet-prophets not only as a crisis of secularism but also, strikingly, as part of the instability of the biblical text itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Johann Gottfried Herder the bar room bruiser, always spoiling for a fight. Find the text: https://press.princeton.edu/books/hardcover/9780691135359/shakespeare • Explore our Patreon at ⁠⁠patreon.com/wheelofgenre⁠⁠ • Email us at genrepodcast@gmail.com

Johnny Hambone uses German Romanticism to solve the mystery of an attempted return of cash to an ATM.

a conversation with Andrea WulfSometimes the world is reinvented and turned upside down not in a glittering metropolis, but in the provinces. This was the case in Jena, a tiny German town, at the end of the eighteenth century, as a gaggle of young and unconventional poets, scientists and philosophers descended on the university there. The result was the kernel of German Romanticism, Andrea Wulf tells me. She has written a stunning group biography on the German romantics, their ideas and their personal lives. In this episode, we discuss the importance of German Romanticism, its idea of the self and its new ways of relating to nature, a historical turning point that is still colouring our current debates and our thinking about ourselves, and the climate crisis.

Born as a reaction to the Enlightenment, German Romanticism embraced many of its ideas.

https://www.patreon.com/GnosticInformant Please Consider joining my Patreon to help finding scholars to bring on. Any amount helps me. Thank you existing Patrons. Get the Book: https://www.amazon.com/Origins-Early-... Robyn Faith Walsh (Ph.D) https://robynfaithwalsh.com/ Robyn Faith Walsh is an Associate Professor at the University of Miami (UM). She earned her Ph.D. at Brown University in Religions of the Ancient Mediterranean, with a focus on early Christianity, ancient Judaism, and Roman archaeology. Before coming to UM, Professor Walsh taught at Wheaton College (Mass.), The College of the Holy Cross, and received teaching certificates and pedagogical training at Brown University and Harvard University. She teaches courses on the New Testament, Greco-Roman literature and material culture. Her first monograph, The Origins of Early Christian Literature: Contextualizing the New Testament within Greco-Roman Literary Culture, was recently published with Cambridge University Press. https://gnosticinformant--pursuit4kno... The Course for Mystery Cults by Professor Litwa is NOW AVAILABLE!!! Click the Link for more Details! (Link) https://gnosticinformant--pursuit4kno... Conventional approaches to the Synoptic gospels argue that the gospel authors acted as literate spokespersons for their religious communities. Whether described as documenting intra-group 'oral traditions' or preserving the collective perspectives of their fellow Christ-followers, these writers are treated as something akin to the Romantic poet speaking for their Volk - a questionable framework inherited from nineteenth-century German Romanticism. In this book, Robyn Faith Walsh argues that the Synoptic gospels were written by elite cultural producers working within a dynamic cadre of literate specialists, including persons who may or may not have been professed Christians. Comparing a range of ancient literature, her ground-breaking study demonstrates that the gospels are creative works produced by educated elites interested in Judean teachings, practices, and paradoxographical subjects in the aftermath of the Jewish War and in dialogue with the literature of their age. Walsh's study thus bridges the artificial divide between research on the Synoptic gospels and Classics. The Greco-Roman civilization (/ˌɡriːkoʊˈroʊmən, ˌɡrɛkoʊ-/; also Greco-Roman culture; spelled Graeco-Roman in the Commonwealth), as understood by modern scholars and writers, includes the geographical regions and countries that culturally—and so historically—were directly and intimately influenced by the language, culture, government and religion of the Greeks and Romans. A better-known term is classical civilization. In exact terms the area refers to the "Mediterranean world", the extensive tracts of land centered on the Mediterranean and Black Sea Basins, the "swimming pool and spa" of the Greeks and the Romans, in which those peoples' cultural perceptions, ideas, and sensitivities became dominant in classical antiquity. That process was aided by the universal adoption of Greek as the language of intellectual culture and commerce in the Eastern Mediterranean and of Latin as the language of public administration and of forensic advocacy, especially in the Western Mediterranean. Greek and Latin were never the native languages of many or most of the rural peasants, who formed the great majority of the Roman Empire's population, but they became the languages of the urban and cosmopolitan elites and the Empire's lingua franca, even if only as corrupt or multifarious dialects for those who lived within the large territories and populations outside the Macedonian settlements and the Roman colonies. All Roman citizens of note and accomplishment, regardless of their ethnic extractions, spoke and wrote in Greek or Latin. Examples include the Roman jurist and imperial chancellor Ulpian, who was of Phoenician origin; the mathematician and geographer Claudius Ptolemy, who was of Greco-Egyptian origin --- Send in a voice message: https://anchor.fm/gnosticinformant/message

Stefan Willer is one of German literature's most cutting-edge professors, combining an expertise in German Romanticism with mind-bending theories on translation, knowledge of the future [Zukunftswissen], and etymology. In this interview, which picks up where "Episode 0" left off, Professor Willer and I explore what the German Romantics might have said about the untimely death of Moses, the circularity of the Torah, and the Torah's first letter.

Freshwater sharks, German Romanticism, and (possibly) aquatic tarts throwing swords. Grab a copy of The Book Eaters by Sunyi Dean! Thanks to the awesome Patreon supporter who nominated this awesome episode! If you would like to purchase a nomination or a bonus episode of your own, email the show at ClaytempleMedia.@gmail.com. Support the show and gain access to over three dozen bonus episodes by becoming a patron on Patreon. Rate and review the show to help us reach more readers and listeners. Not enough science-fiction and fantasy in your life? Join us on The Gene Wolfe Literary Podcast! Love Star Trek? Come find us on the Lower Decks! Neil Gaiman fan? Love comics? Join us on Hanging Out With the Dream King: A Neil Gaiman Podcast. Check out Glenn's medieval history podcast Agnus! Find out how you can commission a special bonus episode here. Join the conversation on the Claytemple Forum. Follow Claytemple Media on Facebook and Twitter, and sign up for our newsletter. Follow Glenn on Facebook and Twitter. Check out Glenn's weird fiction story "Goodbye to All That" on the Tales to Terrify Podcast. Next time: Lusus Naturae by Margaret Atwood. Music: http://www.purple-planet.com

Freshwater sharks, German Romanticism, and (possibly) aquatic tarts throwing swords. Grab a copy of The Book Eaters by Sunyi Dean! Thanks to the awesome Patreon supporter who nominated this awesome episode! If you would like to purchase a nomination or a bonus episode of your own, email the show at ClaytempleMedia.@gmail.com. Support the show and gain access to over three dozen bonus episodes by becoming a patron on Patreon. Rate and review the show to help us reach more readers and listeners. Not enough science-fiction and fantasy in your life? Join us on The Gene Wolfe Literary Podcast! Love Star Trek? Come find us on the Lower Decks! Neil Gaiman fan? Love comics? Join us on Hanging Out With the Dream King: A Neil Gaiman Podcast. Check out Glenn's medieval history podcast Agnus! Find out how you can commission a special bonus episode here. Join the conversation on the Claytemple Forum. Follow Claytemple Media on Facebook and Twitter, and sign up for our newsletter. Follow Glenn on Facebook and Twitter. Check out Glenn's weird fiction story "Goodbye to All That" on the Tales to Terrify Podcast. Next time: A discussion episode on Niemandswasser by Robert Aickman Music: http://www.purple-planet.com

https://www.temenosacademy.org/jack-herbert/

Hymns to the Night, a classic text from German Romanticism

This week Katja and Oliver wax lyrical about their countries' literary past. Together with their expert guest, Dr Joanna Raisbeck, they explore the lofty heights of English and German Romanticism. Do you know your Shelley from your Schiller?Produced by Goalhanger Films. Hosted on Acast. See acast.com/privacy for more information.

In the midst of the awards season for classical music recordings, this week I am joined by Marina Frolova-Walker, a Russian-born British musicologist and music historian, to discuss the subject of her 2016 book Stalin's Music Prize: Soviet Culture and Politics. Marina specialises in German Romanticism, Russian and Soviet music, and nationalism in music, and is Professor of Music History and Director of Studies in Music at Clare College, Cambridge. Its a great chat, taking in some of the less well known Russian composers like Myaskovsky, Weinberg and Kabalevsky as well as the two titans, Prokofiev and Shostakovich.You can listen to the podcast right here on this page, or click on the links in the player (via the symbol of the box with the arrow coming out of the top) to find it in Apple, Spotify, Stitcher and other popular podcast apps, where you will be able to subscribe and receive notifications when new episodes become available in the future.We would love to hear your feedback and suggestions for future topics, and guests who you would like us to talk to. Please email us at info@prestomusic.com

At first glance, the death of Moses just short of the Gates of Israel seems to be a cruel and unfair denouement for Judaism's greatest prophet. Yet, with the help of the Jena School, we can see Moses' "untimely" death as the ultimate gift and the pathway to the Eternal.steventobyweinberg.comIG: Stevehead0001Music: Jimi Hendrix - "Little Miss Strange"

Allegro moderato Scherzo – Allegro molto Elegia – Adagio Finale – Allegro non troppo Anton Arensky was an influential Russian composer, pianist, and professor at the Moscow Conservatory where some of his more notable students included Scriabin, Rachmaninoff, and Gretchaninov. Arensky was himself taught by Rimsky-Korsakov and mentored by Tchaikovsky from whom he drew much inspiration and subsequently is evident in his works. The D minor piano trio starts the first movement in the tradition of late German Romanticism with a grand sonata form wielding impressive, sweeping melodies underlied by tremulous, destabilising, syncopated accompaniment reminiscent of the Mendelssohn D minor trio’s first movement. The second movement “Scherzo” is a whimsical concoction of good humour and delightful cheer presenting the light-hearted spirit of the dance. The third movement “Eegia” presents an unrelenting sombre mood with muted strings and tender themes to really emphasise the grieving character of music as this trio was dedicated to the memory of Karl Davydov, a renowned Russian cellist and Arensky’s friend. The Finale begins with an explosive theme but soon recalls motifs from the previous movements giving the piano trio a cyclic structure before insistently driving the work to a fantastical end. (Programme notes written by Joseph Chen)

Christopher Russell provides historical and musical context for the concert's program, which takes us through a journey that chronicles a tumultuous time in Germany from 1874-1934.   About this Performance: Mehta leads an adventurous look at German Romanticism as it develops into the birth of 20th-century music, from the lushness of the full orchestra in Wagner's final Ring opera to the concentrated brevity of Webern's nine-instrument concerto.   Program: WAGNER Götterdämmerung: Rhine Journey WAGNER Götterdämmerung: Funeral Music WAGNER Götterdämmerung: Immolation Scene SCHOENBERG Chamber Symphony WEBERN Six Pieces for Orchestra, Op. 6 WEBERN Concerto for Nine Instruments, Op. 24   Artists: Los Angeles Philharmonic Zubin Mehta, conductor Christine Goerke, soprano

Laura will be joined an expert panel to discuss the book and its themes; Dr Benjamin Walton (Jesus, Cambridge), Professor Kate McLoughlin (Harris Manchester, Oxford). Chaired by Professor Philip R. Bullock (Wadham, Oxford). In New York and London during World War I, the performance of lieder -German art songs- was roundly prohibited, representing as they did the music and language of the enemy. But as German musicians returned to the transatlantic circuit in the 1920s, so too did the songs of Franz Schubert, Hugo Wolf, and Richard Strauss. Lieder were encountered in a variety of venues and media-at luxury hotels and on ocean liners, in vaudeville productions and at Carnegie Hall, and on gramophone recordings, radio broadcasts, and films. Laura Tunbridge explores the renewed vitality of this refugee musical form between the world wars, offering a fresh perspective on a period that was pervaded by anxieties of displacement. Through richly varied case studies, Singing in the Age of Anxiety traces how lieder were circulated, presented, and consumed in metropolitan contexts, shedding new light on how music facilitated unlikely crossings of nationalist and internationalist ideologies during the interwar period. Laura Tunbridge is Professor of Music and Henfrey Fellow and Tutor, St Catherine's College, at the University of Oxford. Editor of the Journal of the Royal Musical Association from 2013-2018, in 2017 she was elected to the Directorium of the International Musicological Society. Laura’s research has concentrated on German Romanticism, with a particular interest in reception through criticism, performance, and composition. Among her publications are the books Schumann’s Late Style (Cambridge, 2007) and The Song Cycle (Cambridge, 2010). Laura will be joined an expert panel to discuss the book and its themes; Dr Benjamin Walton (Jesus, Cambridge), Professor Kate McLoughlin (Harris Manchester, Oxford). Chaired by Professor Philip R. Bullock (Wadham, Oxford)

Joanna Robertson is a journalist and mother who has lived in five foreign countries, where she has observed that local shopping habits tell you a lot about the place. In these Essays, she argues that when people go shopping, they don't just purchase goods, they also buy into something else. Joanna Robertson takes us shopping with the locals and explores these ulterior motives and what they reveal about the residents of five cities: Rome, New York, Berlin, Tirana and Joanna's current home, Paris.In this edition, she finds that shopping for toys in Berlin reveals an attitude to childhood and nature that's unique to Germany. Germany's concept of nature is deeply rooted in the concepts of nineteenth-century German Romanticism, which in turn is reflected in German toys, and childhood. The child is the Wanderer, journeying through the boundless realms of creativity and dreams, close to the beauty, teachings and wonders of Nature. It's a childhood of great freedom, and responsibility. Producer: Arlene Gregorius.

This week we tackle the problem of ageing in film, the LSD trip that is Annihilation, Sporting heartbreak and shocks. Finally, we conclude with German Romanticism and its effect on the birth of socialism.

Romantic, 1813-1883: Even mentioning the name Wagner spawns a dramatic response. He’s one of those figures that’s either loved or hated. It’s been said that more ink has been spilt on the works and life of Richard Wagner than almost another composer. His operas and his essays, his philosophy and his spirit, stand as pillars of German Romanticism.

In this extended interview, Ryan Beltz talks about German Romanticism, jouissance, Stoicism and the nature of anger, and how The World Speed Project is a rebellion against the "what one does" that society shoves our throats.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. According to the Brothers Grimm, the seventeenth-century Italian book titled The Tale of Tales by Giovan Battista Basile was the first and most important collection of oral fairy tales. This book contains the first versions of famous tales such as Cinderella and Sleeping Beauty. The Grimms believed that "The Tale of Tales," written in the Neapolitan dialect, echoed the original myths of the Italian people who, according to the Grimms, were closer to ancient history. Clemens Brentano, another fundamental representative of German Romanticism, held that Basile's book had primarily a literary character and was not just a transcription of oral tales. Both the Grimms and Brentano rewrote some of Basile's most beautiful fairy tales according to their opposite poetic views. This talk examines the adaptations of Brentano and the Grimms and sheds light on why these fundamental tales (e.g., Cinderella) matter today, why their “spell” still seems natural and immutable, and what they may say about the future of storytelling.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. According to the Brothers Grimm, the seventeenth-century Italian book titled The Tale of Tales by Giovan Battista Basile was the first and most important collection of oral fairy tales. This book contains the first versions of famous tales such as Cinderella and Sleeping Beauty. The Grimms believed that "The Tale of Tales," written in the Neapolitan dialect, echoed the original myths of the Italian people who, according to the Grimms, were closer to ancient history. Clemens Brentano, another fundamental representative of German Romanticism, held that Basile's book had primarily a literary character and was not just a transcription of oral tales. Both the Grimms and Brentano rewrote some of Basile's most beautiful fairy tales according to their opposite poetic views. This talk examines the adaptations of Brentano and the Grimms and sheds light on why these fundamental tales (e.g., Cinderella) matter today, why their “spell” still seems natural and immutable, and what they may say about the future of storytelling.

'Sydney Heads', the only known Sydney subject by the artist, is a product of von Guérard's first and only excursion into New South Wales in November 1859, when he visited Sydney, the Blue Mountains and the Illawarra region. The painting was worked up in his studio in Melbourne six years later, most likely on the basis of a preparatory drawing now in the State Library of New South Wales, Sydney. Von Guérard's atmospheric rendering of this light-filled scene, together with his sensitive and precise depiction of topographical detail and human activity within a tightly controlled composition, makes 'Sydney Heads' one of his finest paintings. Von Guérard reverted to the composition of the drawing in his 1865 painting of the view - flattening the foreground slope and decreasing the North/South breadth of the Harbour and scale of the hills beyond Manly to increase a sense of space and grandeur. Addition of a tree to the left of Vaucluse Bay provided a picturesque framing device, whilst he also transformed the rough heathland of his 1860 painting to elegantly grassed slopes - perhaps to appeal to a contemporary preference for countryside of a more tamed, European appearance. Details such as the group of figures around a fire at right, added foreground interest - improving the overall balance of the composition. He bathed the scene with the rose-tinted light of late afternoon, clearly intending an altogether more luminous and poetic impression than in his painting of 1860. Von Guérard's painting, 'Sydney Heads' 1865, with its combination of elevated sentiment and remote and wild, yet partly civilised subject, relates to both homestead portraits and wilderness views in his oeuvre. As such the work takes its place within a wider international context of European artistic engagement with newly colonised lands, finding particular parallels for example with the contemporaneous work of the 'Hudson River School' artists in America. As Joan Kerr, Australian colonial art historian, comments in the catalogue to The Artist and the patron exhibition (1988), picturing the harbour 'was an almost obligatory subject for amateur and professional alike…This was not only "the most beautiful harbour in the world" it was the first sight of the new land for many arrivals and the first step towards regaining the ancestral home for many departures'. In Eugene von Guérard's 'Australian Landscapes', containing twenty four colour lithographs of landscape views (published by Hamal and Ferguson, c.1867 - 68), plate XXII 'Sydney Heads, New South Wales' is described thus; 'From the summit of a knoll on the roadside from Sydney to the narrow promontory known as the South Head, is visible the lovely prospect depicted by our artist ... The road to the South Head is deservedly a favourite drive with the inhabitants of Sydney, and the stranger passing over it for the first time experiences a succession of demands upon his admiration, as each bend in the road discloses to him some new combination of sea and shore and sky, each lovelier than the last'. The various extant versions of the painting and the lithograph which was the last work to be completed of the subject by von Guérard, offer a number of interpretations of the pencil drawing. Focusing on what has been described as one of several classic views encompassing Sydney Harbour's quintessential qualities, and painted by innumerable artists, von Guérard's 'Sydney Heads' depicts a broad sweep of landscape from Vaucluse Bay on the left to Watson's Bay and Sydney Heads at the right, with the road to the South Head in the foreground. Despite partial screening by vegetation and buildings, the accuracy of his transcription of the view may be confirmed today from the vicinity of 'Johnston's Lookout' in Vaucluse, the probable viewpoint for the artist's preparatory drawing. However, whilst clearly concerned with accurately and informatively depicting a view already well known for its 'picturesque' synthesis of grandeur and beauty, von Guérard also aimed to transcend mere topography. Von Guérard scholar Candice Bruce suggests that during the artist's training at the Kunstakademie in Dusseldorf (c.1839 - c.1846) he probably saw the work of the principal German Romantic painter Caspar David Friedrich, whose style and mood his work later evoked, and became familiar with treatises by the main exponents of German Romanticism, Carl Gustav Carus (1789-1869) and 'Novalis' [dates]. The influence of von Guérard's earlier teacher in Rome, Giovannibattista Bassi - who taught in the traditions of Salvator Rosa, Poussin and Claude - also encouraged an interest in concepts of 'the sublime' and 'the picturesque' in art. In the newly established landscape class at the Academy, von Guérard was encouraged to go on long sketching trips in pursuit of the new naturalism or 'Naturegetreue wiedergabe' (a response true to nature). For the German Romantic landscape painter, each painting was an 'Erdlebensbildnis' or painting of the life of the earth, in which a focus on the microcosmic details of nature led to an awareness of the macrocosmic presence of the soul of the world. No detail was inessential. Hence von Guérard's attention to detail, visible particularly in the painting of the foreground trees and shrubs, which was typical of his practice, and demonstrated the specific influence of the German 'Nazarene' painters with whom he had also enjoyed some contact in Rome. A key belief of the German Romantic painters was that painting should be an expression of personal insight into the divine qualities perceived in nature. In 'Sydney Heads', von Guérard celebrated with semi-religious reverence, the sublime beauty of the scene. Selecting an elevated viewpoint affording a panorama of the harbour and its surrounds, the artist aimed to inspire a sense of awe and wonder in the viewer by accentuating the vastness of the sky and by implication, suggesting the great expanses of the world beyond. [Helen Campbell, 'Eugene von Guérard - Sydney Heads 1865', Australian Collection Focus Series, AGNSW, 1999]

'Sydney Heads', the only known Sydney subject by the artist, is a product of von Guérard's first and only excursion into New South Wales in November 1859, when he visited Sydney, the Blue Mountains and the Illawarra region. The painting was worked up in his studio in Melbourne six years later, most likely on the basis of a preparatory drawing now in the State Library of New South Wales, Sydney. Von Guérard's atmospheric rendering of this light-filled scene, together with his sensitive and precise depiction of topographical detail and human activity within a tightly controlled composition, makes 'Sydney Heads' one of his finest paintings. Von Guérard reverted to the composition of the drawing in his 1865 painting of the view - flattening the foreground slope and decreasing the North/South breadth of the Harbour and scale of the hills beyond Manly to increase a sense of space and grandeur. Addition of a tree to the left of Vaucluse Bay provided a picturesque framing device, whilst he also transformed the rough heathland of his 1860 painting to elegantly grassed slopes - perhaps to appeal to a contemporary preference for countryside of a more tamed, European appearance. Details such as the group of figures around a fire at right, added foreground interest - improving the overall balance of the composition. He bathed the scene with the rose-tinted light of late afternoon, clearly intending an altogether more luminous and poetic impression than in his painting of 1860. Von Guérard's painting, 'Sydney Heads' 1865, with its combination of elevated sentiment and remote and wild, yet partly civilised subject, relates to both homestead portraits and wilderness views in his oeuvre. As such the work takes its place within a wider international context of European artistic engagement with newly colonised lands, finding particular parallels for example with the contemporaneous work of the 'Hudson River School' artists in America. As Joan Kerr, Australian colonial art historian, comments in the catalogue to The Artist and the patron exhibition (1988), picturing the harbour 'was an almost obligatory subject for amateur and professional alike…This was not only "the most beautiful harbour in the world" it was the first sight of the new land for many arrivals and the first step towards regaining the ancestral home for many departures'. In Eugene von Guérard's 'Australian Landscapes', containing twenty four colour lithographs of landscape views (published by Hamal and Ferguson, c.1867 - 68), plate XXII 'Sydney Heads, New South Wales' is described thus; 'From the summit of a knoll on the roadside from Sydney to the narrow promontory known as the South Head, is visible the lovely prospect depicted by our artist ... The road to the South Head is deservedly a favourite drive with the inhabitants of Sydney, and the stranger passing over it for the first time experiences a succession of demands upon his admiration, as each bend in the road discloses to him some new combination of sea and shore and sky, each lovelier than the last'. The various extant versions of the painting and the lithograph which was the last work to be completed of the subject by von Guérard, offer a number of interpretations of the pencil drawing. Focusing on what has been described as one of several classic views encompassing Sydney Harbour's quintessential qualities, and painted by innumerable artists, von Guérard's 'Sydney Heads' depicts a broad sweep of landscape from Vaucluse Bay on the left to Watson's Bay and Sydney Heads at the right, with the road to the South Head in the foreground. Despite partial screening by vegetation and buildings, the accuracy of his transcription of the view may be confirmed today from the vicinity of 'Johnston's Lookout' in Vaucluse, the probable viewpoint for the artist's preparatory drawing. However, whilst clearly concerned with accurately and informatively depicting a view already well known for its 'picturesque' synthesis of grandeur and beauty, von Guérard also aimed to transcend mere topography. Von Guérard scholar Candice Bruce suggests that during the artist's training at the Kunstakademie in Dusseldorf (c.1839 - c.1846) he probably saw the work of the principal German Romantic painter Caspar David Friedrich, whose style and mood his work later evoked, and became familiar with treatises by the main exponents of German Romanticism, Carl Gustav Carus (1789-1869) and 'Novalis' [dates]. The influence of von Guérard's earlier teacher in Rome, Giovannibattista Bassi - who taught in the traditions of Salvator Rosa, Poussin and Claude - also encouraged an interest in concepts of 'the sublime' and 'the picturesque' in art. In the newly established landscape class at the Academy, von Guérard was encouraged to go on long sketching trips in pursuit of the new naturalism or 'Naturegetreue wiedergabe' (a response true to nature). For the German Romantic landscape painter, each painting was an 'Erdlebensbildnis' or painting of the life of the earth, in which a focus on the microcosmic details of nature led to an awareness of the macrocosmic presence of the soul of the world. No detail was inessential. Hence von Guérard's attention to detail, visible particularly in the painting of the foreground trees and shrubs, which was typical of his practice, and demonstrated the specific influence of the German 'Nazarene' painters with whom he had also enjoyed some contact in Rome. A key belief of the German Romantic painters was that painting should be an expression of personal insight into the divine qualities perceived in nature. In 'Sydney Heads', von Guérard celebrated with semi-religious reverence, the sublime beauty of the scene. Selecting an elevated viewpoint affording a panorama of the harbour and its surrounds, the artist aimed to inspire a sense of awe and wonder in the viewer by accentuating the vastness of the sky and by implication, suggesting the great expanses of the world beyond. [Helen Campbell, 'Eugene von Guérard - Sydney Heads 1865', Australian Collection Focus Series, AGNSW, 1999]

'Sydney Heads', the only known Sydney subject by the artist, is a product of von Guérard's first and only excursion into New South Wales in November 1859, when he visited Sydney, the Blue Mountains and the Illawarra region. The painting was worked up in his studio in Melbourne six years later, most likely on the basis of a preparatory drawing now in the State Library of New South Wales, Sydney. Von Guérard's atmospheric rendering of this light-filled scene, together with his sensitive and precise depiction of topographical detail and human activity within a tightly controlled composition, makes 'Sydney Heads' one of his finest paintings. Von Guérard reverted to the composition of the drawing in his 1865 painting of the view - flattening the foreground slope and decreasing the North/South breadth of the Harbour and scale of the hills beyond Manly to increase a sense of space and grandeur. Addition of a tree to the left of Vaucluse Bay provided a picturesque framing device, whilst he also transformed the rough heathland of his 1860 painting to elegantly grassed slopes - perhaps to appeal to a contemporary preference for countryside of a more tamed, European appearance. Details such as the group of figures around a fire at right, added foreground interest - improving the overall balance of the composition. He bathed the scene with the rose-tinted light of late afternoon, clearly intending an altogether more luminous and poetic impression than in his painting of 1860. Von Guérard's painting, 'Sydney Heads' 1865, with its combination of elevated sentiment and remote and wild, yet partly civilised subject, relates to both homestead portraits and wilderness views in his oeuvre. As such the work takes its place within a wider international context of European artistic engagement with newly colonised lands, finding particular parallels for example with the contemporaneous work of the 'Hudson River School' artists in America. As Joan Kerr, Australian colonial art historian, comments in the catalogue to The Artist and the patron exhibition (1988), picturing the harbour 'was an almost obligatory subject for amateur and professional alike…This was not only "the most beautiful harbour in the world" it was the first sight of the new land for many arrivals and the first step towards regaining the ancestral home for many departures'. In Eugene von Guérard's 'Australian Landscapes', containing twenty four colour lithographs of landscape views (published by Hamal and Ferguson, c.1867 - 68), plate XXII 'Sydney Heads, New South Wales' is described thus; 'From the summit of a knoll on the roadside from Sydney to the narrow promontory known as the South Head, is visible the lovely prospect depicted by our artist ... The road to the South Head is deservedly a favourite drive with the inhabitants of Sydney, and the stranger passing over it for the first time experiences a succession of demands upon his admiration, as each bend in the road discloses to him some new combination of sea and shore and sky, each lovelier than the last'. The various extant versions of the painting and the lithograph which was the last work to be completed of the subject by von Guérard, offer a number of interpretations of the pencil drawing. Focusing on what has been described as one of several classic views encompassing Sydney Harbour's quintessential qualities, and painted by innumerable artists, von Guérard's 'Sydney Heads' depicts a broad sweep of landscape from Vaucluse Bay on the left to Watson's Bay and Sydney Heads at the right, with the road to the South Head in the foreground. Despite partial screening by vegetation and buildings, the accuracy of his transcription of the view may be confirmed today from the vicinity of 'Johnston's Lookout' in Vaucluse, the probable viewpoint for the artist's preparatory drawing. However, whilst clearly concerned with accurately and informatively depicting a view already well known for its 'picturesque' synthesis of grandeur and beauty, von Guérard also aimed to transcend mere topography. Von Guérard scholar Candice Bruce suggests that during the artist's training at the Kunstakademie in Dusseldorf (c.1839 - c.1846) he probably saw the work of the principal German Romantic painter Caspar David Friedrich, whose style and mood his work later evoked, and became familiar with treatises by the main exponents of German Romanticism, Carl Gustav Carus (1789-1869) and 'Novalis' [dates]. The influence of von Guérard's earlier teacher in Rome, Giovannibattista Bassi - who taught in the traditions of Salvator Rosa, Poussin and Claude - also encouraged an interest in concepts of 'the sublime' and 'the picturesque' in art. In the newly established landscape class at the Academy, von Guérard was encouraged to go on long sketching trips in pursuit of the new naturalism or 'Naturegetreue wiedergabe' (a response true to nature). For the German Romantic landscape painter, each painting was an 'Erdlebensbildnis' or painting of the life of the earth, in which a focus on the microcosmic details of nature led to an awareness of the macrocosmic presence of the soul of the world. No detail was inessential. Hence von Guérard's attention to detail, visible particularly in the painting of the foreground trees and shrubs, which was typical of his practice, and demonstrated the specific influence of the German 'Nazarene' painters with whom he had also enjoyed some contact in Rome. A key belief of the German Romantic painters was that painting should be an expression of personal insight into the divine qualities perceived in nature. In 'Sydney Heads', von Guérard celebrated with semi-religious reverence, the sublime beauty of the scene. Selecting an elevated viewpoint affording a panorama of the harbour and its surrounds, the artist aimed to inspire a sense of awe and wonder in the viewer by accentuating the vastness of the sky and by implication, suggesting the great expanses of the world beyond. [Helen Campbell, 'Eugene von Guérard - Sydney Heads 1865', Australian Collection Focus Series, AGNSW, 1999]

German Romanticism began as a philosophical departure from Enlightenment thinking, centralising human experience and transcendence from the purely rational. This succinct discussion contextualises that shift.