Romanticism의 想像力에 관한 考察 = A Study on Romanticism and Imagination

다국어 초록 (Multilingual Abstract)

Through the Romantic Movement in Literature began with the storming of the Bastille in Paris in 1789, it would be convenient to believe that Romanticism was trying to stir all the way through the Age of Reason, mainly through the eighteenth century. Romanticism is characterized by a return to the Elizabethan period or the Middle Ages for subject matter and inspiration, an idealization of nature, and an accentuation of the mystery and wonder of free artistic creation. Romanticism should be differentiated from Neo-Classicism, the latter being characterized by conscious restraint and forms that are rationally ordered and proportioned. As the Romantic Movement spread, to virtually every country of Europe, it manifested itself everywhere as a passionate revolt away from tradition and toward the strange, the glamorous, and the ideal. The beginning of the Romantic Movement is associated with the 'return-to-nature' philosophy expounded by Jean Jacues Rousseau in his Discourses on the Arts and Sciences and Emile. Rousseau's concept of men as naturally noble and free had a profound influence upon philosophy in Germany and England. Among those so influenced were the German idealist philosophers Immanuel Kant, the brothers August Wilhelm von Schlegel Friedrich von Schlegel, whose Romanticism stresses the essential creativity of the absolute spirit.
The best of the Coleridge contribution to romanticism has never been disregarded for its supernatural splendor and its fantastic imaginative color. It glitters with an unearthly inspiration and with a weird imagery that is unique in the romantic poetry. According to him, the poet is born, not made. Not the special rules or materials of the arts of poetry but the shaping power of the poet's imagination is what gives poetry its distinction. Imagination he defines as the intermediated faculty which joins the predominantly passive and predominantly active elements in thinking. His concern about imagination is to confirm the validity of the production of the secondary imagination, the creative imagination of poet, by identifying it in kind with the primary imagination, the finite counterpart of God's creative act (shown as the finite I AM), and thereby to give philosophic ground and content to the traditional idea of the poet as creator.