Thanks to Giuseppe for his input!
If one's love is strong enough, it can drive one to accomplish feats that are literally impossible otherwise. In general, anything with "-punk" in its name has a strong tendency towards Romanticism, due to the genre's cynicism about human advancement, preference for older and more visible machines, and strongly antiauthoritarian tendencies.
However, this isn't a hard-and-fast rule, and many "-punk" works actually lean towards Enlightenment in their embrace of the possibilities of their setting's unique technology. Post-Cyberpunkbeing a reaction against the extreme Romanticism of the Cyberpunk genre, is the most obvious example.
Is a Crapshootcreating an AI is asking for war. Scale of Scientific Sins: Portraying some branches of science and technology as inherently evil.
This runs counter to the Enlightenment's idea of knowledge being inherently good. While individual Romanticists' attitudes towards science may vary from simple caution to outright rejection, Romanticism in general is characterized by a very skeptical attitude towards scientific progress and the change it brings, or rather the utopian idea of science the Enlightenment possessed.
Romanticism saw science and logic as inferior to emotion, and therefore science alone would come to wrong conclusions. The Spark of Genius: Romanticism often portrays all creative activity as something defying all rational explanation - and science is no exception when scientists are not portrayed as Straw Vulcans.
The more anvilicious Romanticist works may feature such characters, portraying characters that are supposed to be epitomes of logic as shallow caricatures, who ironically are not very logical. Romanticist utopias are often led by supernatural characters, ones that are fundamentally above mere mortals.
In a world where technology isn't totally trustful, it's better to stay with the Good Old Ways. A milder version of Ludd Was Right.
A character adheres to their theories, rejecting conflicting facts that are even truthful. That character is expected to be emotionally brokenor worseif they are in a situation where maintaining their filter is impossible.
Again, stating that it is best to stay away from some knowledge runs counter to the Enlightenment's ideals. Three Chords and the Truth: That one does not need a thorough formal education to produce good music - or that "good" equals "raw" and "unpolished" - is a very Romanticist argument.
Romanticists are usually Naturalists who portray Enlightened Utilitarians as willing to go to extremes for the sake of Utopia.
Transhumanism is on the Scale of Scientific Sinsand creating a transhuman much like creating an AI or any other form of artificial life is likely to result in them being evil.
As noted in Immortality Immoralityachieving immortality just like transhumanism as a whole is on the Scale of Scientific Sinsso immortality in Romanticist works, if achievable, will carry a number of unpleasant consequences.
The World Is Not Ready: Science must not progress too quickly, otherwise disaster will follow. A setting in which everyone is highly emotional. You Can't Fight Fate: Romantics believe heavily in prophecies, saying that they will occur no matter what.
Common Tropes Tropes shared between them, but handled in different ways: Cynicism have protagonists with this belief.
The difference is in how their beliefs are handled. The Romantic may assert that human nature of love must triumph over " totalitarian " rationality of utilitarianism, while the Enlightened hero will actually embrace rationalism and utilitarianism, and still prove his or her love for other beings through them.Haemon tries to reason with Creon numerous times throughout the play, but is told by Creon to “never lose [his] sense of judgment over a woman,” (p.
93, line). In Creon’s view, Antigone abandoned the state, so the state is validated in its abandonment of her. Antigone tells the elders her death will be noble, but the Chorus doubts her, regarding her nobility as pride.
He says that reason is a gift of the gods, and he cautions Creon against being single-minded and self-involved, noting that there is no such thing as a one-man city. He asserts that everyone has to give way somewhat, listen, and. TIME SCHEDULE WEEK 1: History of Drama (An overview) (Read Much Ado About Nothing).
A. Oedipus the King B. Oedipus At Colonus C. Antigane WEEK 2: The Medieval Period A. History of the Medieval Period. B. Discussion of Everyman. WEEK 3 & 4: The Elizabethan Period.
Reason vs. Emotion “You’re so irrational!” “You’re so unfeeling!” Of course, we are all guided by both reason and emotion, and both play important parts. Sophocles' Antigone: Tragedy as Satire? Graham Johnson College of DuPage characters in the play at the extremes of emotion and action, reason, and ignites the passion of Antigone.
Creon has just taken his first step in becoming a tyrant -. AFAM Intro to African American Studies This course provides an overview of African American history and culture. Topics include major events, persons, and issues spanning the period from the African heritage to contemporary times.