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The termneo-romanticism is used to cover a variety of movements in philosophy, literature, music, painting, and architecture, as well associal movements, that exist after and incorporate elements from the era ofRomanticism.
It has been used with reference to late-19th-century composers such asRichard Wagner particularly byCarl Dahlhaus who describes his music as "a late flowering of romanticism in a positivist age". He regards it as synonymous with "the age of Wagner", from about 1850 until 1890—the start of the era ofmodernism, whose leading early representatives wereRichard Strauss andGustav Mahler (Dahlhaus 1979, 98–99, 102, 105). It has been applied to writers, painters, and composers who rejected, abandoned, or opposedrealism,naturalism, oravant-gardemodernism at various points in time from about 1840 down to the present.
Neo-romanticism as well as Romanticism is considered in opposition to naturalism—indeed, so far as music is concerned, naturalism is regarded as alien and even hostile (Dahlhaus 1979, 100). In the period following German unification in 1871, naturalism rejected Romantic literature as a misleading, idealistic distortion of reality. Naturalism in turn came to be regarded as incapable of filling the "void" of modern existence. Critics such asHermann Bahr,Heinrich Mann, andEugen Diederichs came to oppose naturalism andmaterialism under the banner of "neo-romanticism", demanding a cultural reorientation responding to "the soul's longing for a meaning and content in life" that might replace the fragmentations of modern knowledge with a holistic world view (Kohlenbach 2009, 261).
"Neo-romanticism" was proposed as an alternative label for the group of German composers identified with the short-livedNeue Einfachheit movement in the late 1970s and early 1980s. Along with other phrases such as "new tonality", this term has been criticised for lack of precision because of the diversity among these composers, whose leading member isWolfgang Rihm (Hentschel 2006, 111).
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In British art history, the term "neo-romanticism" is applied to a loosely affiliated school of landscape painting that emerged around 1930 and continued until the early 1950s. It was first labeled in March 1942 by the criticRaymond Mortimer in theNew Statesman. These painters looked back to 19th-century artists such asWilliam Blake andSamuel Palmer, but were also influenced by French cubist and post-cubist artists such asPablo Picasso,André Masson, andPavel Tchelitchew (Clark and Clarke 2001 harvnb error: no target: CITEREFClark_and_Clarke2001 (help);Hopkins 2001). This movement was motivated in part as a response to the threat of invasion during World War II. Artists particularly associated with the initiation of this movement includedPaul Nash,John Piper,Henry Moore,Ivon Hitchens, and especiallyGraham Sutherland. A younger generation includedJohn Minton,Michael Ayrton,John Craxton,Keith Vaughan,Robert Colquhoun, andRobert MacBryde (Button 1996).
Theaestheticphilosophy ofArthur Schopenhauer andFriedrich Nietzsche has contributed greatly to neo-romantic thinking.[citation needed]
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Within theModern Arabic literature, neo-romanticism began in the early 20th century and flourished during the 1930s–1940s, that sought inspiration from French or English romantic poetry. Most famous its part is theMahjar ("émigré" school) that includesArabic-language poets in the AmericasAmeen Rihani,Kahlil Gibran,Nasib Arida,Mikhail Naimy,Elia Abu Madi, Fawsi Maluf, Farhat, and al-Qarawi. The neo-romantic current also involved poets in every Arabian country:Abdel Rahman Shokry,Abbas Mahmoud al-Aqqad andIbrahim al-Mazini in Egypt,Omar Abu Risha in Syria,Elias Abu Shabaki andSalah Labaki in Lebanon,Abu al-Qasim al-Shabbi in Tunisia, andAl-Tijani Yusuf Bashir in Sudan.(Jayyusi 1977, 361–474)
In theIndian literature neo-romanticism was represented by theChhayavaad movement.
Beginning in the mid-1930s and continuing through World War II, a Japanese neo-romantic literary movement was led by the writerYasuda Yojūrō (Torrance 2010, 66).
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