Post-romanticism or Postromanticism refers to a range of cultural endeavors and attitudes emerging in the late nineteenth and early twentieth centuries, after the period of
Romanticism.
In literature
The period of post-romanticism in poetry is defined as the mid-to-late nineteenth century,[1] but includes the much earlier poetry of
Letitia Elizabeth Landon[2] and
Tennyson.[3]
Post-romanticism in
music refers to composers who wrote classical symphonies, operas, and songs in transitional style that constituted a blend of late romantic and early modernist musical languages.
Arthur Berger described the mysticism of
La Jeune France as post-Romanticism rather than
neo-Romanticism.[6]
Post-romantic composers created music that used traditional forms combined with advanced
harmony.
Béla Bartók, for example, "in such
Strauss-influenced works as Duke Bluebeard's Castle", may be described as having still used "
dissonance ['such intervals as fourths and sevenths'] in traditional forms of music for purposes of post-romantic expression, not simply always as an appeal to the primal art of sound".[7]
^Sybille Baumbach,
Birgit Neumann [
de],
Ansgar Nünning [
de] (eds). A History of British Poetry, Trier: Wissenschaftlicher Verlag Trier 2015.
ISBN978-3-86821-578-6. Section 19: "Poetic Genres in the Victorian Age I: Letitia Elizabeth Landon's and Alfred Lord Tennyson's Post-Romantic Verse Narratives" by
Anne-Julia Zwierlein [
de].
^Richard Bradford, A Linguistic History of English Poetry, New York: Routledge, 1993, p. 134.
ISBN0-415-07057-0.
^
abRobert Milder, Exiled Royalties: Melville and the Life We Imagine, New York: Oxford University Press, 2006, p. 41.
ISBN0-19-514232-2
^Stephen Heath, Gustave Flaubert, Madame Bovary, Cambridge and New York: Cambridge University Press, 1992, p. 13.
ISBN0-521-31483-6.
Tilby, Michael. Review of Claudia Moscovici, Romanticism and Postromanticism. French Studies: A Quarterly Review, vol. 62, no. 4, October 2008, pp. 486–487.