Explore how 19th-century Romanticism shifted our focus from artistic craft to the 'sender,' permanently redefining the human self as a vessel for original expression.

The 'sender-centered' theory was basically a legal necessity: if I’m a 'genius' whose work is a 'spontaneous overflow of my powerful feelings,' then it’s my property. It turns the book into the fruits of intellectual labour, embodied in the form of capital.
샌프란시스코에서 컬럼비아 대학교 동문들이 만들었습니다
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샌프란시스코에서 컬럼비아 대학교 동문들이 만들었습니다

Lena: You know, Miles, we usually think of a book as a direct window into an author’s soul, right? Like the "creative genius" is this undisputed fact of nature. But what if I told you that focusing on the artist as the "sender" of a message was actually a specific 19th-century invention?
Miles: It’s a fascinating shift. Before Romanticism really took hold around 1820, the focus wasn't always on the individual's "originality" or "imagination." We’ve inherited this sender-centered theory that tells us the artist is a genius whose painful secrets must be uttered.
Lena: Exactly! It makes me wonder—did we start viewing books and individuals as interchangeable just because of a few poets in places like Concord or Germany? Or was it a deeper reaction against the rationalism of the time?
Miles: That’s the big question. These theories suggest the "self" and nature are one, turning self-expression into a moral duty. Here’s where it gets interesting as we explore how this Romantic proposal actually reshaped our entire definition of a "person."