Changes

==Origin==

==Origin==

German, [[literally]], [[Turbulence|storm]] and [[stress]], from Sturm und Drang (1776), [[drama]] by [http://en.wikipedia.org/wiki/Friedrich_Maximilian_Klinger Friedrich von Klinger] †1831 German [[novel]]ist and dramatist

German, [[literally]], [[Turbulence|storm]] and [[stress]], from Sturm und Drang (1776), [[drama]] by [https://en.wikipedia.org/wiki/Friedrich_Maximilian_Klinger Friedrich von Klinger] †1831 German [[novel]]ist and dramatist

*[http://en.wikipedia.org/wiki/19th_century 1845]

*[https://en.wikipedia.org/wiki/19th_century 1845]

==Definitions==

==Definitions==

*1: a late [http://en.wikipedia.org/wiki/18th_century 18th century] German literary movement characterized by works containing rousing [[action]] and high [[emotional]]ism that often deal with the [[individual]]'s revolt against [[society]]

*1: a late [https://en.wikipedia.org/wiki/18th_century 18th century] German literary movement characterized by works containing rousing [[action]] and high [[emotional]]ism that often deal with the [[individual]]'s revolt against [[society]]

:2: turmoil  

:2: turmoil  

==Description==

==Description==

'''Sturm und Drang''' (German pronunciation: [ˈʃtʊʁm ʊnt ˈdʁaŋ]) (literally "Storm and Urge", although usually [[translated]] as "Storm and Stress") is a [[movement]] in [http://en.wikipedia.org/wiki/German_literature German literature] and [http://en.wikipedia.org/wiki/Music_of_Germany music] taking place from the late 1760s through the early 1780s, in which [[individual]] [[subjectivity]] and, in particular, [[extreme]]s of [[emotion]] were given free [[expression]] in [[reaction]] to the [[perceived]] constraints of [[rationalism]] imposed by [[the Enlightenment]] and associated [[aesthetic]] movements.

'''Sturm und Drang''' (German pronunciation: [ˈʃtʊʁm ʊnt ˈdʁaŋ]) (literally "Storm and Urge", although usually [[translated]] as "Storm and Stress") is a [[movement]] in [https://en.wikipedia.org/wiki/German_literature German literature] and [https://en.wikipedia.org/wiki/Music_of_Germany music] taking place from the late 1760s through the early 1780s, in which [[individual]] [[subjectivity]] and, in particular, [[extreme]]s of [[emotion]] were given free [[expression]] in [[reaction]] to the [[perceived]] constraints of [[rationalism]] imposed by [[the Enlightenment]] and associated [[aesthetic]] movements.

The philosopher [http://en.wikipedia.org/wiki/Johann_Georg_Hamann Johann Georg Hamann] is considered to be the ideologue of Sturm und Drang, and [http://en.wikipedia.org/wiki/Johann_Wolfgang_von_Goethe Johann Wolfgang von Goethe] was a notable proponent of the [[movement]], though he and [http://en.wikipedia.org/wiki/Friedrich_Schiller Friedrich Schiller] ended their period of association with it by [[initiating]] what would become [http://en.wikipedia.org/wiki/Weimar_Classicism Weimar Classicism].

The philosopher [https://en.wikipedia.org/wiki/Johann_Georg_Hamann Johann Georg Hamann] is considered to be the ideologue of Sturm und Drang, and [https://en.wikipedia.org/wiki/Johann_Wolfgang_von_Goethe Johann Wolfgang von Goethe] was a notable proponent of the [[movement]], though he and [https://en.wikipedia.org/wiki/Friedrich_Schiller Friedrich Schiller] ended their period of association with it by [[initiating]] what would become [https://en.wikipedia.org/wiki/Weimar_Classicism Weimar Classicism].

French [http://en.wikipedia.org/wiki/Neoclassicism Neoclassicism], a [[movement]] beginning in the early [http://en.wikipedia.org/wiki/Baroque Baroque], and its preoccupation with [[rational]] congruity was the principal target of [[rebellion]] for [[adherents]] of the ''Sturm und Drang'' movement. The overt [[sentiment]]alism and need to project an [[objective]], anti-[[personal]] characterization or image was found to be at odds with the latent [[desire]] to [[express]] troubling [[personal]] [[emotions]] and an [[individual]], [[subjective]] [[perspective]] on [[reality]]. It was considered that [[the Enlightenment]] [[ideals]] of [[rationalism]], [http://en.wikipedia.org/wiki/Empiricism empiricism], and [http://en.wikipedia.org/wiki/Universalism universalism] had failed to adequately capture the [[human]] [[experience]] - its [[emotional]] [[extreme]]s and the [[inherent]] impurity of [[personal]] [[motivations]].

French [https://en.wikipedia.org/wiki/Neoclassicism Neoclassicism], a [[movement]] beginning in the early [https://en.wikipedia.org/wiki/Baroque Baroque], and its preoccupation with [[rational]] congruity was the principal target of [[rebellion]] for [[adherents]] of the ''Sturm und Drang'' movement. The overt [[sentiment]]alism and need to project an [[objective]], anti-[[personal]] characterization or image was found to be at odds with the latent [[desire]] to [[express]] troubling [[personal]] [[emotions]] and an [[individual]], [[subjective]] [[perspective]] on [[reality]]. It was considered that [[the Enlightenment]] [[ideals]] of [[rationalism]], [https://en.wikipedia.org/wiki/Empiricism empiricism], and [https://en.wikipedia.org/wiki/Universalism universalism] had failed to adequately capture the [[human]] [[experience]] - its [[emotional]] [[extreme]]s and the [[inherent]] impurity of [[personal]] [[motivations]].

==Origin of the term==

==Origin of the term==

The term ''Sturm und Drang'' first appeared as the title to a play by [http://en.wikipedia.org/wiki/Friedrich_Maximilian_Klinger Friedrich Maximilian Klinger], published in 1776, about the unfolding [http://en.wikipedia.org/wiki/American_Revolution American Revolution], in which the [[author]] gives [[violent]] [[expression]] to [[difficult]] [[emotions]] and extols [[individuality]] and [[subjectivity]] over the prevailing order of [[rationalism]]. Though it is [[argued]] that [[literature]] and [[music]] associated with ''Sturm und Drang'' predate this seminal work, it was from this point that German artists became distinctly [[self-conscious]] of a new [[esthetic]]. This seemingly [[spontaneous]] [[movement]] was [[embraced]] by a wide array of German [[authors]] and composers of the mid to late [http://en.wikipedia.org/wiki/Classical_antiquity Classical period].

The term ''Sturm und Drang'' first appeared as the title to a play by [https://en.wikipedia.org/wiki/Friedrich_Maximilian_Klinger Friedrich Maximilian Klinger], published in 1776, about the unfolding [https://en.wikipedia.org/wiki/American_Revolution American Revolution], in which the [[author]] gives [[violent]] [[expression]] to [[difficult]] [[emotions]] and extols [[individuality]] and [[subjectivity]] over the prevailing order of [[rationalism]]. Though it is [[argued]] that [[literature]] and [[music]] associated with ''Sturm und Drang'' predate this seminal work, it was from this point that German artists became distinctly [[self-conscious]] of a new [[esthetic]]. This seemingly [[spontaneous]] [[movement]] was [[embraced]] by a wide array of German [[authors]] and composers of the mid to late [https://en.wikipedia.org/wiki/Classical_antiquity Classical period].

''Sturm und Drang'' came to be associated with [[literature]] or [[music]] aimed at frightening the [[audience]] or imbuing them with [[extreme]]s of [[emotion]]. The [[movement]] soon dovetailed into [http://en.wikipedia.org/wiki/Weimar_Classicism Weimar Classicism] and early [http://en.wikipedia.org/wiki/Romanticism Romanticism], whereupon a socio-political concern for greater human [[freedom]] from despotism was incorporated along with a [[religious]] treatment of all things [[natural]]. There is much [[debate]] regarding whose [[work]] should or should not be included in the [[canon]] of ''Sturm und Drang''. One point of view would limit the [[movement]] to [http://en.wikipedia.org/wiki/Goethe Goethe], [http://en.wikipedia.org/wiki/Johann_Gottfried_Herder Johann Gottfried Herder], [http://en.wikipedia.org/wiki/Lenz Lenz], and their direct German associates [[writing]] works of [[fiction]] and/or [[philosophy]] between 1770 and the early 1780s. The [[alternative]] [[perspective]] is that of a literary [[movement]] inextricably linked to [[simultaneous]] developments in [[prose]], [[poetry]], and [[drama]], extending its direct [[influence]] throughout the German-speaking lands until the end of the 18th century. Nevertheless, it should be noted that the originators of the [[movement]] came to view it as a time of premature exuberance which was then abandoned in [[favor]] of often conflicting artistic pursuits.

''Sturm und Drang'' came to be associated with [[literature]] or [[music]] aimed at frightening the [[audience]] or imbuing them with [[extreme]]s of [[emotion]]. The [[movement]] soon dovetailed into [https://en.wikipedia.org/wiki/Weimar_Classicism Weimar Classicism] and early [https://en.wikipedia.org/wiki/Romanticism Romanticism], whereupon a socio-political concern for greater human [[freedom]] from despotism was incorporated along with a [[religious]] treatment of all things [[natural]]. There is much [[debate]] regarding whose [[work]] should or should not be included in the [[canon]] of ''Sturm und Drang''. One point of view would limit the [[movement]] to [https://en.wikipedia.org/wiki/Goethe Goethe], [https://en.wikipedia.org/wiki/Johann_Gottfried_Herder Johann Gottfried Herder], [https://en.wikipedia.org/wiki/Lenz Lenz], and their direct German associates [[writing]] works of [[fiction]] and/or [[philosophy]] between 1770 and the early 1780s. The [[alternative]] [[perspective]] is that of a literary [[movement]] inextricably linked to [[simultaneous]] developments in [[prose]], [[poetry]], and [[drama]], extending its direct [[influence]] throughout the German-speaking lands until the end of the 18th century. Nevertheless, it should be noted that the originators of the [[movement]] came to view it as a time of premature exuberance which was then abandoned in [[favor]] of often conflicting artistic pursuits.

[http://www.jstor.org/stable/462503 Kraftmensch] existed as a precursor to ''Sturm und Drang'' among dramatists beginning with [http://en.wikipedia.org/wiki/Friedrich_Maximilian_Klinger F.M. Klinger], the [[expression]] of which is seen in the [[radical]] [[degree]] to which [[individuality]] need [[appeal]] to no outside [[force]] outside the [[self]] nor be tempered by [[rationalism]]. These [[ideals]] are identical to those of ''Sturm und Drang'', and it can be [[argued]] that the later name exists to catalog a number of [[parallel]], co-influential movements in [http://en.wikipedia.org/wiki/German_literature German literature] rather than [[express]] anything substantially [[different]] than what German dramatists were achieving in the [[violent]] plays attributed to the [http://www.jstor.org/stable/462503 Kraftmensch] movement.

[https://www.jstor.org/stable/462503 Kraftmensch] existed as a precursor to ''Sturm und Drang'' among dramatists beginning with [https://en.wikipedia.org/wiki/Friedrich_Maximilian_Klinger F.M. Klinger], the [[expression]] of which is seen in the [[radical]] [[degree]] to which [[individuality]] need [[appeal]] to no outside [[force]] outside the [[self]] nor be tempered by [[rationalism]]. These [[ideals]] are identical to those of ''Sturm und Drang'', and it can be [[argued]] that the later name exists to catalog a number of [[parallel]], co-influential movements in [https://en.wikipedia.org/wiki/German_literature German literature] rather than [[express]] anything substantially [[different]] than what German dramatists were achieving in the [[violent]] plays attributed to the [https://www.jstor.org/stable/462503 Kraftmensch] movement.

Major philosophical/theoretical influences on the literary ''Sturm und Drang'' movement were [[Johann Georg Hamann]] (especially the 1762 [[text]] ''Aesthetica in nuce''. ''Eine Rhapsodie in kabbalistischer'' Prose) and [http://en.wikipedia.org/wiki/Johann_Gottfried_Herder Johann Gottfried Herder], both from Königsberg, and both formerly in [[contact]] with [http://en.wikipedia.org/wiki/Immanuel_Kant Immanuel Kant]. Significant theoretical [[statements]] of ''Sturm und Drang'' [[aesthetics]] by the [[movement]]'s central dramatists themselves include Lenz' ''Anmerkungen übers Theater'' and Goethe's ''Von deutscher Baukunst and Zum Schäkespears''. The most important contemporary [[document]] was the 1773 volume ''Von deutscher Art und Kunst. Einige fliegende Blätter'', a collection of [[essays]] which included commentaries by Herder on Ossian and Shakespeare, along with contributions by Goethe, [http://en.wikipedia.org/wiki/Paolo_Frisi Paolo Frisi] (in [[translation]] from the Italian), and [http://en.wikipedia.org/wiki/Justus_M%C3%B6ser Justus Möser].

Major philosophical/theoretical influences on the literary ''Sturm und Drang'' movement were [[Johann Georg Hamann]] (especially the 1762 [[text]] ''Aesthetica in nuce''. ''Eine Rhapsodie in kabbalistischer'' Prose) and [https://en.wikipedia.org/wiki/Johann_Gottfried_Herder Johann Gottfried Herder], both from Königsberg, and both formerly in [[contact]] with [https://en.wikipedia.org/wiki/Immanuel_Kant Immanuel Kant]. Significant theoretical [[statements]] of ''Sturm und Drang'' [[aesthetics]] by the [[movement]]'s central dramatists themselves include Lenz' ''Anmerkungen übers Theater'' and Goethe's ''Von deutscher Baukunst and Zum Schäkespears''. The most important contemporary [[document]] was the 1773 volume ''Von deutscher Art und Kunst. Einige fliegende Blätter'', a collection of [[essays]] which included commentaries by Herder on Ossian and Shakespeare, along with contributions by Goethe, [https://en.wikipedia.org/wiki/Paolo_Frisi Paolo Frisi] (in [[translation]] from the Italian), and [https://en.wikipedia.org/wiki/Justus_M%C3%B6ser Justus Möser].

==Sturm und Drang in literature==

==Sturm und Drang in literature==

The [http://en.wikipedia.org/wiki/Protagonist protagonist] in a typical ''Sturm und Drang'' stage work, [[poem]], or [[novel]] is driven to [[action]]—often [[violent]] action—not by pursuit of [[noble]] means nor by true [[motives]], but by [[revenge]] and [[greed]]. [http://en.wikipedia.org/wiki/Goethe Goethe]'s unfinished [http://en.wikipedia.org/wiki/Prometheus_(Goethe) ''Prometheus''] exemplifies this along with the common [[ambiguity]] provided by [[juxtaposing]] humanistic platitudes with outbursts of irrationality. The [[literature]] of ''Sturm und Drang'' features an anti-[[aristocratic]] slant while seeking to elevate all things [[humble]], [[natural]], or [[intense]]ly real (especially whatever is [[painful]], tormenting, or frightening).

The [https://en.wikipedia.org/wiki/Protagonist protagonist] in a typical ''Sturm und Drang'' stage work, [[poem]], or [[novel]] is driven to [[action]]—often [[violent]] action—not by pursuit of [[noble]] means nor by true [[motives]], but by [[revenge]] and [[greed]]. [https://en.wikipedia.org/wiki/Goethe Goethe]'s unfinished [https://en.wikipedia.org/wiki/Prometheus_(Goethe) ''Prometheus''] exemplifies this along with the common [[ambiguity]] provided by [[juxtaposing]] humanistic platitudes with outbursts of irrationality. The [[literature]] of ''Sturm und Drang'' features an anti-[[aristocratic]] slant while seeking to elevate all things [[humble]], [[natural]], or [[intense]]ly real (especially whatever is [[painful]], tormenting, or frightening).

The story of hopeless love and eventual suicide presented in Goethe's [[sentimental]] [[novel]] [http://en.wikipedia.org/wiki/Die_Leiden_des_jungen_Werthers ''Die Leiden des jungen Werthers''] (1774) is an example of the [[author]]'s tempered [[introspection]] regarding his [[love]] and torment. [http://en.wikipedia.org/wiki/Friedrich_Schiller Friedrich Schiller]'s drama, [http://en.wikipedia.org/wiki/Die_R%C3%A4uber ''Die Räuber''] (1781), provided the groundwork for [[melodrama]] to become a recognized [[dramatic]] form. The [[plot]] portrays a [[conflict]] between two [[aristocratic]] brothers, Franz and [http://en.wikipedia.org/wiki/Karl_Moor Karl Moor]. Franz is cast as a villain attempting to cheat Karl out of his inheritance, though the [[motives]] for his [[action]] are [[complex]] and initiate a thorough [[investigation]] of [[good]] and [[evil]]. Both of these works are seminal examples of ''Sturm und Drang'' in [http://en.wikipedia.org/wiki/German_literature German literature].

The story of hopeless love and eventual suicide presented in Goethe's [[sentimental]] [[novel]] [https://en.wikipedia.org/wiki/Die_Leiden_des_jungen_Werthers ''Die Leiden des jungen Werthers''] (1774) is an example of the [[author]]'s tempered [[introspection]] regarding his [[love]] and torment. [https://en.wikipedia.org/wiki/Friedrich_Schiller Friedrich Schiller]'s drama, [https://en.wikipedia.org/wiki/Die_R%C3%A4uber ''Die Räuber''] (1781), provided the groundwork for [[melodrama]] to become a recognized [[dramatic]] form. The [[plot]] portrays a [[conflict]] between two [[aristocratic]] brothers, Franz and [https://en.wikipedia.org/wiki/Karl_Moor Karl Moor]. Franz is cast as a villain attempting to cheat Karl out of his inheritance, though the [[motives]] for his [[action]] are [[complex]] and initiate a thorough [[investigation]] of [[good]] and [[evil]]. Both of these works are seminal examples of ''Sturm und Drang'' in [https://en.wikipedia.org/wiki/German_literature German literature].

[[Category: The Arts]]

[[Category: The Arts]]

[[Category: Languages and Literature]]

[[Category: Languages and Literature]]