By Frederic Ewen
Choice awesome educational name for 2008
A Half-Century of Greatness paints a bright and dramatic photograph of the artistic considered mid- to overdue 19th century Europe and the impact of the unsuccessful revolutions of 1848. It unearths usually unforeseen hyperlinks among novelists, poets, and philosophers from England, Germany, Austria, Hungary, Russia, and Ukraine—especially Dickens, Carlyle, Mill, the Brontës, and George Eliot; Hegel, Strauss, Feuerbach, Marx, Engels, Wagner, and several other German poets; the Hungarian poet Sándor Petöfi; Gogol, Dostoevsky, Bakunin, and Herzen in Russia, and the nice Ukrainian poet Shevchenko. Ewen is going directly to hint the transition from Romanticism to Victorianism, or what he calls “the Victorian compromise”—the ascendancy of the center class.
The ebook used to be reconstructed and edited by way of Dr. Jeffrey Wollock from Ewen’s ultimate manuscript. It contains the author's personal reference citations all through, a reconstructed bibliography, and an up to date “further studying” list.
This is Ewen’s final paintings, the long-lost better half to his Heroic Imagination. jointly, those books current a landscape of the social, political, and inventive points of eu Romanticism, in particular foreshadowing and complementing contemporary paintings at the relation of Marxism to romanticism. someone attracted to what Lukacs referred to as “Romantic anticapitalism,”; who appreciates such books as Marshall Berman's Adventures in Marxism or E.P. Thompson's The Romantics (1997), will locate Ewen’s paintings a welcome addition.
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Additional resources for A Half-Century of Greatness: The Creative Imagination of Europe, 1848-1884
For the Victorians—and these included some of the greatest—he was to epitomize a great moral crisis and its transcendence. For the younger generation he was to stand forth as a “seer” who had emerged from the Hell (or as he called it, the Hebrew “Tophet”) of doubt and nullity, into a heaven of spiritual afﬁrmations. He had sought new guides, and had found them. In Goethe, he had found his Moses, in Goethe’s Wilhelm Meister his new Tables of the Law. Goethe, in turn, had recognized in Carlyle a “moral force,” and had entered into a prolonged correspondence with him, one of the very few Britishers to be so honored.
At that moment he might have envied the sure faith of his reticent father, the uncompromising belief of his mother. The feelings of internal dismemberment were accentuated by the turmoil in the outside world. The times were beckoning for signiﬁcant speech and action. He was well aware of the sad economic plight of the Scottish farmer and worker. He had seen the inside of factories, and had been appalled. He had been amazed at the advances in technology—and affrighted at the sight of the workers.
But this, his new work, was to be the theoretical manifesto of a new Credo, as seven years later, under more favorable circumstances, his second major achievement, The French Revolution, was to be the practical exposition and exempliﬁcation of his ideas as reﬂected on the stage of world history. Both labors were to be accompanied by staggering fatalities and accidents, though differing in kind. Sartor Resartus had begun as a fantasy on the subject of Clothes and soon widened into a full-sized philosophical or metaphysical tract.