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romanticism</title> <meta name="description" content="Search results for: romanticism"> <meta name="keywords" content="romanticism"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler 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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="romanticism"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 9</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: romanticism</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">9</span> Romantic Theory in Comparative Perspective: Schlegel’s Philosophy of History and the Spanish Question</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Geena%20Kim">Geena Kim</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Romantic movements in Spain and Germany served as turning points in European literary history, advancing cognitive-emotional ideals of the essential unity between literature, life, and the natural world in reaction against the rising tide of mechanization, urban growth, and industrial progress. This paper offers a comparative study of the literary-theoretic underpinnings of the Romantic movements in Spain and Germany, particularly with regard to the reception history of Schlegel’s Romantic philosophy of history. By far one of the better-known figures of the period, Schlegel has traditionally been considered one of the principal theorists of German Romanticism, one of the first to embrace and acknowledge the more radical changes that the movement brought forth. His well-studied contributions to the German Romanticism were certainly significant domestically, but their impact on comparatively less industrialized Spain have been largely neglected, a puzzling oversight in light of Schlegel’s extensive efforts in advocating for the dissemination of Spanish literature under the guise of a kind of pan-European Romanticism. Indeed, Schlegel’s somewhat problematically exoticizing view of Spain as the quintessential embodiment of the spirit of Romanticism was itself enormously influential on the genesis and growth of the Spanish Romantic theory. This was especially significant considering earlier, pre-Romantic tropes of the ‘black legend,’ by which means Spain was demonized with even cruder essentializing, nationalistic language. By comparing Schlegel’s theorizing around Spain with contributions to Romantic theory by Hispanophone writers, this paper sheds light on questions of linguistic identity and national influence from two alas infrequently compared contexts of European Romanticism. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=schlegel" title="schlegel">schlegel</a>, <a href="https://publications.waset.org/abstracts/search?q=Spanish%20romantic%20theory" title=" Spanish romantic theory"> Spanish romantic theory</a>, <a href="https://publications.waset.org/abstracts/search?q=German%20romanticism" title=" German romanticism"> German romanticism</a>, <a href="https://publications.waset.org/abstracts/search?q=romantic%20philosophy" title=" romantic philosophy"> romantic philosophy</a> </p> <a href="https://publications.waset.org/abstracts/90200/romantic-theory-in-comparative-perspective-schlegels-philosophy-of-history-and-the-spanish-question" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/90200.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">190</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">8</span> Principles of Music Composition in Impressionism by Focusing on Claude Debussy and Maurice Ravel’s Piano Works</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Parham%20Bakhtiari">Parham Bakhtiari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The essence of Musical Impressionism is best captured in the compositions of Claude Debussy and Maurice Ravel. These two important individuals represent the core of this art form, with their piano compositions remaining significant, impactful, and commonly performed in contemporary times. Their piano works reflected a revolutionary compositional style that strayed from classical romanticism and drew heavy inspiration from Symbolist poets and Asian arts. Additionally, numerous technical applications are commonly utilized to exemplify the principles of impressionism style by composers who did not frequently use them in prior eras, resulting in effectively evoking impressionistic images through diverse sonorities. The goal of this study is to showcase the range of impressionistic elements and compositional techniques, such as dissonances, pentatonic and whole-tone scales, parallel movements, and polytonality, through an examination of their piano compositions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music" title="music">music</a>, <a href="https://publications.waset.org/abstracts/search?q=impressionism" title=" impressionism"> impressionism</a>, <a href="https://publications.waset.org/abstracts/search?q=Debussy" title=" Debussy"> Debussy</a>, <a href="https://publications.waset.org/abstracts/search?q=ravel" title=" ravel"> ravel</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=composition" title=" composition"> composition</a> </p> <a href="https://publications.waset.org/abstracts/186693/principles-of-music-composition-in-impressionism-by-focusing-on-claude-debussy-and-maurice-ravels-piano-works" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186693.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">38</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7</span> Writing the Roaming Female Self: Identity and Romantic Selfhood in Mary Wollstonecraft’s Letters Written during a Short Stay in Sweden, Denmark, and Norway (1796) </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kalyani%20Gandhi">Kalyani Gandhi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The eighteenth century in Britain saw a great burst of activity in writing (letters, journals, newspapers, essays); often these modes of writing had a public-spirited bent in-step with the prevailing intellectual atmosphere. Mary Wollstonecraft was one of the leading intellectuals of that period who utilized letter writing to convey her thoughts on the exciting political developments of the late eighteenth century. Fusing together her anxieties and concerns about humanity in general and herself in particular, Wollstonecraft’s views of the world around her are filtered through the lens of her subjectivity. Thus, Wollstonecraft’s letters covered a wide range of topics on both the personal and political level (for the two are often entwined in Wollstonecraft’s characteristic style of analysis) such as sentiment, gender, nature, peasantry, the class system, the legal system, political duties and rights of both rulers and subjects, death, immortality, religion, family and education. Therefore, this paper intends to examine the manner in which Wollstonecraft utilizes letter-writing to constitute and develop Romantic self-hood, understand the world around her and illustrate her ideas on the political and social happenings in Europe. The primary text analyzed will be Mary Wollstonecraft's Letters Written During a Short Stay in Sweden, Denmark and Norway (1796) and the analysis of this text will be supplemented by researching 18th-century British letter writing culture, with a special emphasis on the epistolary habits of women. Within this larger framework, this paper intends to examine the manner in which this hybrid of travel and epistolary writing aided Mary Wollstonecraft's expression on Romantic selfhood and how it was complicated by ideas of gender. This paper reveals Wollstonecraft's text to be wrought with anxiety about the world around her and within her; thus, the personal-public nature of the epistolary format particularly suits her characteristic point of view that looks within and without. That is to say, Wollstonecraft’s anxieties about gender and self, are as much about the women she sees in the world around her as much as they are about her young daughter and herself. Wollstonecraft constantly explores and examines this anxiety within the different but interconnected realms of politics, economics, history and society. In fact, it is her complex technique of entwining these aforementioned concerns with a closer look at interpersonal relationships among men and women (she often mentions specific anecdotes and instances) that make Wollstonecraft's Letters so engaging and insightful. Thus, Wollstonecraft’s Letters is an exemplar of British Romantic writing due to the manner in which it explores the bond between the individual and society. Mary Wollstonecraft's nuances this exploration by incorporating her concerns about women and the playing out of gender in society. Thus, Wollstonecraft’s Letters is an invaluable contribution to the field of British Romanticism, particularly as it offers crucial insight on female Romantic writing that can broaden and enrich the current academic understanding of the field. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=British%20romanticism" title="British romanticism">British romanticism</a>, <a href="https://publications.waset.org/abstracts/search?q=letters" title=" letters"> letters</a>, <a href="https://publications.waset.org/abstracts/search?q=feminism" title=" feminism"> feminism</a>, <a href="https://publications.waset.org/abstracts/search?q=travel%20writing" title=" travel writing"> travel writing</a> </p> <a href="https://publications.waset.org/abstracts/97381/writing-the-roaming-female-self-identity-and-romantic-selfhood-in-mary-wollstonecrafts-letters-written-during-a-short-stay-in-sweden-denmark-and-norway-1796" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/97381.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">215</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6</span> The Triple Interpretation of German Historicism and its Theoretical Contribution to Historical Materialism</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dandan%20Zhang">Dandan Zhang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Elucidating the original relationship between historical materialism and German historicism from the internal dimension of intellectual history has important theoretical significance for deep understanding and interpretation of the essential characteristics of historical materialism. German historicism contains the triple deduction of scientific historicism, historical relativism, and vitalism. The historicism of science argues for its historical status as science in the name of objective, systematic, and typical research methods, and procedural principles. Historical relativism places history under the specific historical background to study epistemological and methodological issues about the nature of human beings and the value of history. German historicism walks up to natural and cultural relativism on the basis of romanticism. Vitalism emphasizes intuition, will, and experience of life from individuals and places history on the ontology of organic life and vitality. Historical materialism and German historicism have a theoretical relationship in the genetic field. The former criticizes and surpasses the latter. Meanwhile, in the evolution of German historicism, the differences between historical materialism with it are essential features of historical science. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=German%20historicism" title="German historicism">German historicism</a>, <a href="https://publications.waset.org/abstracts/search?q=scientific%20historicism" title=" scientific historicism"> scientific historicism</a>, <a href="https://publications.waset.org/abstracts/search?q=historical%20relativism" title=" historical relativism"> historical relativism</a>, <a href="https://publications.waset.org/abstracts/search?q=vitalism" title=" vitalism"> vitalism</a>, <a href="https://publications.waset.org/abstracts/search?q=historical%20materialism" title=" historical materialism"> historical materialism</a> </p> <a href="https://publications.waset.org/abstracts/186414/the-triple-interpretation-of-german-historicism-and-its-theoretical-contribution-to-historical-materialism" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186414.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">44</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5</span> Creator and Creation: Mary Shelley’s Monstrous ‘Last Men’ in 'Frankenstein' and 'The Last Man'</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Courtney%20Laurey%20Davids">Courtney Laurey Davids</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Mary Shelley’s two 19th century novels, the seminal Frankenstein (1818) and the less popular The Last Man (1826) draw on Gothic elements that invite a futuristic questioning and critique of man’s fallibility and propensity to be the author of his own demise be it by transgressing natural law through a scientific endeavour or ‘birthing’ a plague. Recent scholarship about ‘prophetic’ voices in fiction considers The Last Man an influential but overlooked novel deserving of renewed scholarly interest. Through close textual analysis and comparative reading, this paper seeks to explore the continuities (and discontinuities) in thematic concern of creator and creation in Frankenstein and The Last Man, emblematic in the oppositional characters of Victor Frankenstein and the Creature and Adrian, Earl of Windsor and Lionel Verney, his ‘creation’ in The Last Man. It argues that the creator/creation dynamic between Frankenstein and the Creature is to an extent revisited and inverted in Adrian and Verney but presented as no less problematic in The Last Man’s critique of man’s inevitable folly despite nurturing and acceptance of the marginalised figure. Drawing on Romanticism ideals of nature, its foregrounding of a scourging pandemic as punishment for man’s self-dislocation and with nature is a mirroring of Frankenstein and the Creature’s own plague-like deterioration and alienation from self and nature. In a sense, both Verney and the Creature as solitary figures at the novels' denouement are ‘last men’, having learned much about man and society and upon whom the moral injunction rests. In Verney, however, the moral warning coupled with the hope that man can yet be saved offers a different reading perhaps from Frankenstein regarding the creator/creation dichotomy. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=creator%2Fcreation" title="creator/creation">creator/creation</a>, <a href="https://publications.waset.org/abstracts/search?q=Frankenstein" title=" Frankenstein"> Frankenstein</a>, <a href="https://publications.waset.org/abstracts/search?q=Mary%20Shelley" title=" Mary Shelley"> Mary Shelley</a>, <a href="https://publications.waset.org/abstracts/search?q=The%20Gothic" title=" The Gothic"> The Gothic</a>, <a href="https://publications.waset.org/abstracts/search?q=The%20Last%20Man" title=" The Last Man"> The Last Man</a> </p> <a href="https://publications.waset.org/abstracts/135045/creator-and-creation-mary-shelleys-monstrous-last-men-in-frankenstein-and-the-last-man" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/135045.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">220</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4</span> ‘A Ghost of One’s Own’: Spectral Intrusions and Trauma in the Poetry of Joanna Baillie and Anne Bannerman</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Elli%20Karampela">Elli Karampela</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In Specters of Marx (1993), Jacques Derrida refers to the ghost as an Other presence that occupies the space of the self and emanates from there, haunting in its shadowy pastness and threatening/striving to break free. In times of change, ghosts both reflect the dissolution of set principles and voice traumas of the past that create a sense of fear and instability. This paper observes the way female ghosts create connections with the living in the poetry of Joanna Baillie and Anne Bannerman, both integral, albeit under-researched in different ways, writers of the English Romantic period working in the aftermath of the French Revolution. Especially at the beginning of the nineteenth century, when ghost narratives were devoured by readers and enjoyed as stories that re-awakened sensation in times of revolution, there was at the same time fear of intrusion by terror’s unruly forces that threatened to turn the readers restless. The ghost was particularly dangerous because it was associated with memory and the intrusion of past trauma in the here and now. As will be seen, both Baillie and Bannerman explore the idea of the female ghost’s ‘return’ (a Freudian term that will be approached) which breaks both time and space boundaries to raise the suppressed female voice, threaten stability, and correct wrongs. As a result, the varied manifestations of female ghosts render Baillie and Bannerman active in the contemporary discourse about human rights and the reclamation of the agency. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=poetry" title="poetry">poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=romanticism" title=" romanticism"> romanticism</a>, <a href="https://publications.waset.org/abstracts/search?q=spectrality" title=" spectrality"> spectrality</a>, <a href="https://publications.waset.org/abstracts/search?q=trauma" title=" trauma"> trauma</a>, <a href="https://publications.waset.org/abstracts/search?q=women" title=" women"> women</a> </p> <a href="https://publications.waset.org/abstracts/132849/a-ghost-of-ones-own-spectral-intrusions-and-trauma-in-the-poetry-of-joanna-baillie-and-anne-bannerman" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/132849.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">210</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3</span> Interpreting Chopin’s Music Today: Mythologization of Art: Kitsch</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ilona%20Bala">Ilona Bala</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The subject of this abstract is related to the notion of 'popular music', a notion that should be treated with extreme care, particularly when applied to Frederic Chopin, one of the greatest composers of Romanticism. By ‘popular music’, we mean a category of everyday music, set against the more intellectual kind, referred to as ‘classical’. We only need to look back to the culture of the nineteenth century to realize that this ‘popular music’ refers to the ‘music of the low’. It can be studied from a sociological viewpoint, or as sociological aesthetics. However, we cannot ignore the fact that, very quickly, this music spread to the wealthiest strata of the European society of the nineteenth century, while likewise the lowest classes often listen to the intellectual classical music, so pleasant to listen to. Further, we can observe that a sort of ‘sacralisation of kitsch’ occurs at the intersection between the classical and popular music. This process is the topic of this contribution. We will start by investigating the notion of kitsch through the study of Chopin’s popular compositions. However, before considering the popularisation of this music in today’s culture, we will have to focus on the use of the word kitsch in Chopin’s times, through his own musical aesthetics. Finally, the objective here will be to negate the theory that art is simply the intellectual definition of aesthetics. A kitsch can, obviously, only work on the emotivity of the masses, as it represents one of the features of culture-language (the words which the masses identify with). All art is transformed, becoming something outdated or even outmoded. Here, we are truly within a process of mythologization of art, through the study of the aesthetic reception of the musical work. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=F.%20Chopin" title="F. Chopin">F. Chopin</a>, <a href="https://publications.waset.org/abstracts/search?q=kitsch" title=" kitsch"> kitsch</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20work" title=" musical work"> musical work</a>, <a href="https://publications.waset.org/abstracts/search?q=mythologization%20of%20art" title=" mythologization of art"> mythologization of art</a>, <a href="https://publications.waset.org/abstracts/search?q=popular%20music" title=" popular music"> popular music</a>, <a href="https://publications.waset.org/abstracts/search?q=romantic%20music" title=" romantic music"> romantic music</a> </p> <a href="https://publications.waset.org/abstracts/40903/interpreting-chopins-music-today-mythologization-of-art-kitsch" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/40903.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">413</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2</span> Anton Bruckner’s Requiem in Dm: The Reinterpretation of a Liturgical Genre in the Viennese Romantic Context</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sara%20Ramos%20Contioso">Sara Ramos Contioso</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The premiere of Anton Bruckner's Requiem in Dm, in September 1849, represents a turning point in the composer's creative evolution. This Mass of the Dead, which was dedicated to the memory of his esteemed friend and mentor Franz Sailer, establishes the beginning of a new creative aesthetic in the composer´s production and links its liturgical development, which is contextualized in the monastery of St. Florian, to the use of a range of musicals possibilities that are projected by Bruckner on an orchestral texture with choir and organ. Set on a strict tridentine ritual model, this requiem exemplifies the religious aesthetics of a composer that is committed to the Catholic faith and that also links to its structure the reinterpretation of a religious model that, despite being romantic, shows a strong influence derived from the baroque or the Viennese Classicism language. Consequently, the study responds to the need to show the survival of the Requiem Mass within the romantic context of Vienna. Therefore, it draws on a detailed analysis of the score and the creative context of the composer with the intention of linking the work to the tradition of the genre and also specifying the stylistic particularities of its musical model within a variability of possibilities such as the contrasting precedents of Mozart, Haydn, Cherubini or Berlioz´s requiems. Tradition or modernity, liturgy or concert hall are aesthetic references that will condition the development of the Requiem Mass in the middle of the nineteenth century. In this context, this paper tries to recover Bruckner's Requiem in Dm as a musical model of the romantic ritual of deceased and as a stylistic reference of a creative composition that will condition the development of later liturgical works such as Liszt or DeLange (1868) ones. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=liturgy" title="liturgy">liturgy</a>, <a href="https://publications.waset.org/abstracts/search?q=religious%20symbolism" title=" religious symbolism"> religious symbolism</a>, <a href="https://publications.waset.org/abstracts/search?q=requiem" title=" requiem"> requiem</a>, <a href="https://publications.waset.org/abstracts/search?q=romanticism" title=" romanticism"> romanticism</a> </p> <a href="https://publications.waset.org/abstracts/63264/anton-bruckners-requiem-in-dm-the-reinterpretation-of-a-liturgical-genre-in-the-viennese-romantic-context" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/63264.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">337</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1</span> Relationship between Cinema and Culture: Reel and Real life in India</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Prachi%20Chavda">Prachi Chavda</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The world, as of today, is smaller than it was for those who lived few decades ago. Internet, media and telecommunications have impacted the world like never before. Culture is the pillar upon which a society mushrooms. A culture develops with human creativity over the years and also by the exchange and intermixing of ideas and way of life across different civilizations and we can say that one of the influencing medium of exchange and intermixing of these ideas is cinema. Cinema has been the wonderful as well as important medium of communication since it has been emerged. Change is the thumb rule of life and so have been Indian cinema. As society has evolved from time to time so has the stories of Indian Cinema and its characters, hence it directly effects to the Indian culture as cinema has been very strong mediator for information exchange. The paper tries to discuss deeply how Indian cinema (reel life) and Indian culture (real life) has been influencing each other that results into a constant modification in both. Moreover, the research tries to deal with the issue with some examples that as a outcome how movies impact the Indian culture positively and negatively on culture. Therefore, it spreads the wave of change in cultural settings of society. The paper also tries to light the psychology of youth of India. Today, children and youth greatly admire the ostentatious materialistic display of outfits and style of the actors in the movies. Also, the movies bearing romanticism and showcasing disputatious issues like pre-marital sex, live-in relationship, homo-sexuality etc. though without highlighting them extensively have indeed inspired the commoners. Pros and cons always exist. Such revelation of issues certainly give a spark in the minds of those who are in their formative years and the effect of which is seen with the passage of time Thus, we can say that emergence of cinema as a strong tool of social change as well as culture as a triggering factor for transformation in cinema. As, a finding we can say that culture and cinema of India are influencing factors for each other. Cinema and culture are two sides of a coin, where both are responsible for evolution of each other. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinema" title="cinema">cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=influence" title=" influence"> influence</a>, <a href="https://publications.waset.org/abstracts/search?q=transformation" title=" transformation"> transformation</a> </p> <a href="https://publications.waset.org/abstracts/36964/relationship-between-cinema-and-culture-reel-and-real-life-in-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/36964.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">396</span> </span> </div> </div> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div class="container"> <div style="background-color:#f5f5f5;" class="p-3"> <div class="row"> <div class="col-md-2"> <ul class="list-unstyled"> About <li><a href="https://waset.org/page/support">About Us</a></li> <li><a href="https://waset.org/page/support#legal-information">Legal</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/WASET-16th-foundational-anniversary.pdf">WASET celebrates its 16th foundational anniversary</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Account <li><a href="https://waset.org/profile">My Account</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Explore <li><a href="https://waset.org/disciplines">Disciplines</a></li> <li><a href="https://waset.org/conferences">Conferences</a></li> <li><a href="https://waset.org/conference-programs">Conference Program</a></li> <li><a href="https://waset.org/committees">Committees</a></li> <li><a href="https://publications.waset.org">Publications</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Research <li><a href="https://publications.waset.org/abstracts">Abstracts</a></li> <li><a href="https://publications.waset.org">Periodicals</a></li> <li><a href="https://publications.waset.org/archive">Archive</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Open Science <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Science-Philosophy.pdf">Open Science Philosophy</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Science-Award.pdf">Open Science Award</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Society-Open-Science-and-Open-Innovation.pdf">Open Innovation</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Postdoctoral-Fellowship-Award.pdf">Postdoctoral Fellowship Award</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Scholarly-Research-Review.pdf">Scholarly Research Review</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Support <li><a href="https://waset.org/page/support">Support</a></li> <li><a href="https://waset.org/profile/messages/create">Contact Us</a></li> <li><a href="https://waset.org/profile/messages/create">Report Abuse</a></li> </ul> </div> </div> </div> </div> </div> <div class="container text-center"> <hr style="margin-top:0;margin-bottom:.3rem;"> <a href="https://creativecommons.org/licenses/by/4.0/" target="_blank" class="text-muted small">Creative Commons Attribution 4.0 International License</a> <div id="copy" class="mt-2">© 2024 World Academy of Science, Engineering and Technology</div> </div> </footer> <a href="javascript:" id="return-to-top"><i class="fas fa-arrow-up"></i></a> <div class="modal" id="modal-template"> <div class="modal-dialog"> <div class="modal-content"> <div class="row m-0 mt-1"> <div class="col-md-12"> <button type="button" class="close" data-dismiss="modal" aria-label="Close"><span aria-hidden="true">×</span></button> </div> </div> <div class="modal-body"></div> </div> </div> </div> <script src="https://cdn.waset.org/static/plugins/jquery-3.3.1.min.js"></script> <script src="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/js/bootstrap.bundle.min.js"></script> <script src="https://cdn.waset.org/static/js/site.js?v=150220211556"></script> <script> jQuery(document).ready(function() { /*jQuery.get("https://publications.waset.org/xhr/user-menu", function (response) { jQuery('#mainNavMenu').append(response); });*/ jQuery.get({ url: "https://publications.waset.org/xhr/user-menu", cache: false }).then(function(response){ jQuery('#mainNavMenu').append(response); }); }); </script> </body> </html>