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.

后浪漫主义：上海孤岛和国统区内典型的通俗、先锋两栖作家，是徐訏和无名氏。这类作家的出现，一定意义上反映了40年代城市读者对小说的欣赏趣味的提高。有人称之为后浪漫主义小说，强调了他们的文学品位，既有浪漫主义理想，又渗入现代主义精神。他们的小说具有浪漫主义的手 …

English literature - Victorian, Post-Romantic, Poetry: Self-consciousness was the quality that John Stuart Mill identified, in 1838, as “the daemon of the men of genius of our time.” Introspection was inevitable in the literature of an immediately Post-Romantic period, and the age itself was as prone to self-analysis as were its individual ...

Post-romanticism or Postromanticism refers to a range of cultural products and attitudes emerging in the late nineteenth and early twentieth centuries, after the period of Romanticism. Herman Melville and Thomas Carlyle are post-Romantic writers.

In his early years, Scriabin’s compositions could be described as a late Romantic extension of Chopin. However, Alexander Scriabin’s visionary Post-Romantic began to develop with the composition of his fourth sonata, where tonal ambiguities met …

Postromantic music, musical style typical of the last decades of the 19th century and first decades of the 20th century and characterized by exaggeration of certain elements of the musical Romanticism of the 19th century. Postromanticism exhibits extreme largeness of scope and design, a mixture of

2023年10月31日 · Caldwell, John, 'Post-Romanticism, 1914–1945', The Oxford History of English Music (Oxford, 1999; online edn, Oxford Academic, 31 Oct. 2023), https://doi.org/10.1093/oso/9780198162889.003.0005, accessed 18 Jan. 2025.

The expressions "Late-Romantic" and "Post-Romantic" are relatively recent constructs used to delineate the later and/or "declining" phases of the Romantic period (after 1850), whose initial and overarching aspects are described on the Romantic page. By the mid-19th century, the Romantic impulses of subjective expression and organic unity had ...

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 .

But how should one define post-romanticism, and why should one seek to interpret Broch’s novel as an iteration of this particular discursive formation? To begin to answer these questions, in the first part of this article I make the case for the significance of post-romanticism and its differentiation from both