Word: romanticists
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Dates: during 1960-1969
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Might not such theological concepts impel men toward social revolution? Indeed, yes. U.S. Theologian Richard Shaull says that only at the center of the revolution can we "perceive what God is doing." His fellow romanticist Rubem Alves, a 36-year-old Brazilian Protestant, thinks man must meet the liberating event of Christ's Resurrection halfway, as "cocreator" of his own destiny (a Teilhardian notion) through the processes of political revolution. Moltmann frankly admits that hope leads to revolution, declaring that the Christian community ought above all to favor the poor and the dispossessed. But both he and Alves suggest...
...what they took to be ominous portents for Wolfgang's-and Bayreuth's-artistic future, waited anxiously for his new production this year of Die Meistersinger. The work's chauvinism and its basis in medieval history had traditionally called forth productions that were awash with romanticist naturalism-gingerbread houses, magical forests and peasant maids. Wieland Wagner twice tried to replace all this with fresh approaches. In 1956, he staged the work as a spare, poetically brooding vision, in 1963, as an authentic but highly mannered recreation of Shakespearean theater...
...increasing amounts of the new and not so easily palatable. Pianist Leonard Shure opened the series with a completely traditional program of Chopin, Schubert and Beethoven; a week later Jamie and Ruth Laredo deferred to general taste with Bach and Beethoven, but managed to sneak in the somewhat post-Romanticist Sonata Concertante of contemporary Leon Kirchner; last night violinist Felix Galimir and his chamber ensemble (one almost expected the program to read "Felix Galimir and guests") went even further: avoiding the 19th century entirely, the group plunged right in with two works of extremely modern idiom, both composed within...
...exotic music came from that keyboard: scenes of massacre and battle and hell. There were (see color) the funereal chords of his Hamlets, the lyric melancholy of some of his portraits, the emotional rhythms of his still lifes. History has cast Delacroix in the role of the great romanticist pitted against Ingres, France's great classicist. Yet for all his passion, he was a man of intellect who never surrendered to unbridled emotion. "Reason must control all our infirmities," he said...
...Aren't Alone) makes his moral clear-and, finally, unnecessarily explicit. Man, saysPick in effect, is a creature of turmoil who, if he is doomed outside the sheltered valleys, is stifled within them. The view, powerfully expressed in a well-written book, is that of an existentialist, a romanticist who believes that a free man is one who accepts the world as incomprehensible...