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.
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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."