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🕑 Added 2021-10-19 16:05:35 +0000 UTC 💕 Please like my posts too, as well as answer the poll. It shows me I’m loved and appreciated. ❤️ 🔥 Tip to help me make more content that you all enjoy and get off to. 😘. 😇 If you enjoy my page, write a positive review endorsing me on one of the Onlyfans Review Subreddits. It’s against the rules to provide incentives for it but it’s very much appreciated! 🌟 What is the ideal length for a fucking or blowjob video? Clarify in comments if they’re different. Both the Enlightenment and Romanticism took part in the destruction of nature , the former utilizing it as a method in their attempt to claim monopoly on all that is natural, the latter, too, reduces it to a petrified image which places it at a distance, in which consequently, furthers the alienation of man and his origin (nature). Both , to some extent, posit nature as an external object that is readily apt for manipulation. The enlightenment’s denaturalization project is one which depicts man as physically exercising his will over nature through scientific investigation, but the Romantics, in their attempt in reviving nature and that of the sublime through the Aesthetic experience, they, too, propagated the acceleration of modernism by their imposing unto nature (through modern art), a fictional harmonious identity (of nature and its relation to man) by which man utilizes nature as an object and as a means to this object through the act of conceptually arresting the object which it is transposed to that of appropriation and is no longer the original object but that of man’s creation and the empty remainder of his “will to power”. Romanticism was a movement, emerging out of a period of what I would refer to as, disillusioned empowerment; it was a transition from The Age of Enlightenment, known for its abundance of scientific advancements, its rejection of authority, and any faith based system that is not apt for empirical study. I called the Enlightenment “disillusioned empowerment” because this movement represents what I believe Goethe portrayed through the character of Faust. Faust desired to gain Absolute Knowledge , which too, mirrors the Enlightenment’s attitude of substituting its faith from the church into itself whereas progress was to be achieved through the reliable use of human reason and its negation of the metaphysical phenomena outside of empirical experience. A lot of what seemed to be at the time, incomprehensible, was at once, elucidated which included a wide ranging amount of discoveries extending from the chemical compounds that make up water to the proof of a heliocentric universe. In this sense, the mysteries of the universe began to be illuminated all at once; the light of human reason was the indispensable force in unveiling a future where knowledge is readily accessible by which man was able to transcend his finite limitations and potentially become god. Amidst the innumerable discoveries made during the Enlightenment, it appeared as if the objects and external noumena that was once inexplicable and attributed to a higher power, can now be reduced to a mathematical formula. The world began to open itself up as that which could be known and it was through man’s faith in human reason, that this was to be accomplished. Goethe’s rejection of the values held by the Enlightenment was depicted through the created framework by which the characters and plot are structured and confined within a self-contained system as designated by God and his natural processes. Faust’s pact with Mephistopheles represented man’s disavowal of nature whereas man is seen to be impinging upon these purported boundaries in his attempt to take immediate possession of all that is unknown and not yet subject to his speculation. This act of hubris is an active rejection of God's intended will for the world and mirrors that of the ungrateful c h I l l d who is given what is necessary by his or her well-intended parents, but continues to beg for more; similar to the petulance of a c h I l l d, man is never satisfied because the gap in which situates the unknown, will continue to exponentially widen at a faster rate than the confirmed certainty in which man is in perpetual pursuit of. Man’s intended position is that of subservience to the natural order (as willed by god) ; this insatiable conquest of knowledge by inorganic means characterizes what Romanticism feared to be man’s eventual destruction of the natural world in his pursuit of gaining mastery over it. They seeked to suspend the process of "modernization" by initiating the call to innocence, the return to a primitive earth not yet besmirched by man. The Romantic movement isn't a passing presence that shed it's imprint once upon history and fades only into a relic , both treasured and sustained by the fragmented interests of time; when referring to Romanticism , it's important to elaborate upon its unique and distinguishing features that reflect, not only its historical and aesthetic context, but the ways in which these features are a representation of the undergoing conflict between itself and its determination. Romanticism is entirely spiritual and religious in its essence; being a direct witness to what they felt, may have been, an injustice or an affront to the creator, they harbored the guilt of its previous generations' physical and metaphorical demolition of nature, in which, through their art, they believed the relationship between nature and man was to be reconciled. Art became almost an Utopia, in the sense that it was capable of exercising its existence in realms outside of that which was irreconcilable in reality; Frankenstein, undertook the divine role of creation upon himself and it was through this “conquest of death” that the Romantics , too, became a victim to its production of a monster with potential of destroying its creator.
