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estudos:coyne:coyne-racionalismo-romanticismo [16/01/2026 14:40] – created - external edit 127.0.0.1estudos:coyne:coyne-racionalismo-romanticismo [27/01/2026 12:19] (current) – mccastro
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-====== Coyne (Technoromanticism) – Racionalismo e romanticismo ======+====== Racionalismo e romanticismo (Technoromanticism) ======
  
 The rationalists had said that we should eschew feeling, emotion, and other distortions to knowledge in favor of pure reason. In contrast, the romantics rehabilitated and promoted feeling and emotion. Whereas the rationalists and empiricists debated the nature of reality and how we can know it, the romantics elevated the intangible world of the imagination. Rationalism and romanticism converged on the theme of liberation from tradition and authority and elevated the concept of the individual, who for the romantics was the source of creativity. Subjectivity was the key to art. For Schlegel, creative writing "must indeed be entirely personal, subjective in design and intention, conveying indirectly, and almost symbolically, the deepest individual feelings and peculiarities of the author." [^F. von Schlegel, "On the limits of the beautiful," 221.] Whereas rationalism sought the division of the world into parts, the second step of Descartes' method,[^"The second, to divide each of the difficulties that I was examining into as many parts as might be possible and necessary in order best to solve it" (R. Descartes, Discourse on Method and the Meditations, 41).] the romantics brought the "union of senses and imagination"[^Von Schlegel, "On the limits of the beautiful," xviii.] to bear, through the ''special qualities of the soul,"[^Ibid., xvii.] on that about which the emerging world of science was becoming increasingly mute: the issues of love, beauty, and the unity of all things. Romanticism constructed its narratives around the theme of unity and multiplicity, the whole and the parts, the one and the many, in ways that implicated the emerging Enlightenment notions of the self, individuality, and subjectivity, the latest demonstrations of which are found in the narratives of information technology. The rationalists had said that we should eschew feeling, emotion, and other distortions to knowledge in favor of pure reason. In contrast, the romantics rehabilitated and promoted feeling and emotion. Whereas the rationalists and empiricists debated the nature of reality and how we can know it, the romantics elevated the intangible world of the imagination. Rationalism and romanticism converged on the theme of liberation from tradition and authority and elevated the concept of the individual, who for the romantics was the source of creativity. Subjectivity was the key to art. For Schlegel, creative writing "must indeed be entirely personal, subjective in design and intention, conveying indirectly, and almost symbolically, the deepest individual feelings and peculiarities of the author." [^F. von Schlegel, "On the limits of the beautiful," 221.] Whereas rationalism sought the division of the world into parts, the second step of Descartes' method,[^"The second, to divide each of the difficulties that I was examining into as many parts as might be possible and necessary in order best to solve it" (R. Descartes, Discourse on Method and the Meditations, 41).] the romantics brought the "union of senses and imagination"[^Von Schlegel, "On the limits of the beautiful," xviii.] to bear, through the ''special qualities of the soul,"[^Ibid., xvii.] on that about which the emerging world of science was becoming increasingly mute: the issues of love, beauty, and the unity of all things. Romanticism constructed its narratives around the theme of unity and multiplicity, the whole and the parts, the one and the many, in ways that implicated the emerging Enlightenment notions of the self, individuality, and subjectivity, the latest demonstrations of which are found in the narratives of information technology.
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