Does Romanticism really imply a revolt of the affective dimension of the human being above the intellectual, breaking from the beliefs of previous epochs, or can it be better understood as the culmination of a long term process, which started with the 18th century cult of sensibility? Alternatively, should we interpret it as the rise of an “emotional style”, which grew out of the suffering and desperation experienced after the Terror in France and relegated feelings and their expressions to the private, while reason became the virtue cultivated in the public sphere? This three-day conference seeks to discuss to what extent the Romantic celebration of feelings involved continuities and discontinuities in the history of emotions by means of analysing the representations of passions, feelings and sentiments in the production of artistic and scientific knowledge, as well as their role in world politics during the period from 1780 to 1840's. The nostalgia of childhood innocence described by the poet Novalis, the dark melancholy represented in Francisco de Goya's Saturn or the most elegiac feeling praised by John Keats in his poetry, the emotional flow in Schubert's or Chopin's music, the resentment expressed by German, British, Italian and Spanish national communities against French cultural hegemony, the intense blushing that characterised the embarrassment felt by Jane Austen's heroines or romantic love as portrayed in Goethe's The Sorrows of Young Werther are only a few examples of the most common feelings shaped by different European Romanticisms.