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French romantic drama aesthetics

2018-10-09 来源: 51due教员组 类别: Essay范文

下面为大家整理一篇优秀的essay代写范文- French romantic drama aesthetics,供大家参考学习,这篇论文讨论了法国浪漫主义戏剧美学。18世纪末到19世纪初,在法国剧坛上出现了浪漫主义戏剧。浪漫主义是在新古典主义戏剧的废墟上建立起来的,后来浪漫主义在与新古典主义的发展中取得了优势。浪漫主义戏剧提倡主观性,主张回到中世纪,回到自然,这对小说和诗歌的创作都有巨大的影响。

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Hugo's famous drama "ernie" is the embodiment of the highest achievement of romantic drama. His "prologue of Cromwell " is both a manifesto of romanticism and a classic work of romantic drama aesthetics. As a leader of the romantic drama movement, he firmly opposed the art dogma of neoclassicism drama and strongly demanded the freedom of drama creation.

The history of aesthetics refers to the period from 1789 to 1848 when the French bourgeois revolution to the European bourgeois democratic revolution as the romantic period. French romanticism flourished in the 1920s and 1930s and was particularly well represented in plays, music and paintings. In the late 1820s and 30s, victor Hugo published papers of "preface" and "o" that a series of marks the French romantic drama is truly established historical position, and Hugo has therefore become a pioneer and representative writers of French romantic drama. This article will take prologue and ernani as examples to discuss Hugo's relationship with French romantic drama aesthetics.

From the end of the 18th century to the beginning of the 19th century, romantic drama appeared in the French theater. Romanticism was built on the ruins of neoclassical drama. The art of poetry, written in 1674 by buvaro, the representative of neoclassical theater theory, summarizes the basic principles of neoclassicism and is regarded as a classic work of neoclassical theater theory. Neoclassical drama advocates classicism. Many of the works of gonaii, Racine and moliere draw their themes from the history and literature of ancient Greece and Rome. They have borrowed from the ancient world in adhering to the strict boundaries between tragedy and comedy, in pursuing the integrity of plot, the elegance of language and the perfection of structure. Neoclassical drama advocates reason and suppresses emotion. The theory of Descartes is the philosophical foundation of neoclassicism drama theory, and the reason supremacy is the creation principle of neoclassicism drama. Therefore, some scenes with strong influence on the audience's emotions cannot be presented explicitly, and they can only be narrated by the characters in the scene. Such large narrative lines affect the rhythm of the development of the story. The reality view of neoclassical drama, based on the philosophical and aesthetic thoughts of rationalism, disconnects the dialectical relationship between individual and general, personality and universality, and unilaterally emphasizes universality and universality. This principle is reflected in the characterization of the characters by ignoring their personality and typologizing them. Moliere's comic characters, for example, are often the personification of a certain quality, a certain passion: the abagorn means penury, the answer is hypocritical. In the art of poetry, buvaro puts forward the rule of "one story completed in one place and one day". Therefore, neoclassicism dramas generally stress the preciseness of structure and the compactness of plot development. But this kind of rule seriously restricts playwrights, they often have to seek the way out of this kind of regulation in the actual creation practice. Many of moliere's comedies do not conform to such rules, and he deals with the time and space structure of the plot according to the need of creation.

At the beginning of its emergence, neoclassicism dramas conform to the trend of historical development and make them serve to safeguard national and national unity. However, with the rise of the bourgeoisie and the decline of autocratic sovereignty, neoclassicism plays could neither violate the original intention of maintaining the autocratic monarchy, nor adapt to the new requirements of the emerging bourgeoisie for art in the end, and its rules became the precepts of formalism that bound the development of drama. The ornate style of French neoclassicism, the elegant language and the French park with globular osmanthus trees on the stage all indicate that it violates the reality of life. As the German dramatist and aesthetician lessing put it, "feelings must not be created in conjunction with a carefully chosen, noble, manly language. This language is neither expressive nor emotional. But feelings are in accord with the simplest and most intelligible words and styles of language.

Lady starr, a French female writer, pointed out in her book on Germany that "' romanticism 'is a newly introduced word in Germany, which refers to the lyric poems of the troubadours, which are derived from chivalric and Christian poetry." The magical elements of the middle ages and Christianity were much more familiar to the French than the ancient Greek myths that the neoclassical tradition referred to. Thirdly, the originality of the play will be hampered, and the elegant and pompous Alexander's poetry is not enough to show the emotion of the theater. Enthusiasm has a positive effect. "it not only renounces habitual interests, but it helps to sacrifice them for the sake of immortality on the other side." This work became the desk of French writers inclined to romanticism in the 1810th-1920s, and Mrs. Starr was also regarded as the pioneer of French romantic movement. In his "Racine and Shakespeare", stendhal, a French novelist, believes that Racine can no longer meet the demands of the audience, that romantic works can give contemporary people the greatest pleasure, and that French writers should imitate Shakespeare, who is the eternal playwright.

In 1827 Hugo published the prologue, the first sign of the romantic movement. In 1829 Alexander dumas wrote and staged his famous play Henry iii and his court. In 1830, Hugo's famous drama ornani was a great success. Ernie embodied the highest achievement of romantic drama aesthetics. In this way, romanticism won the final victory in the battle with neoclassicism. Romantic drama advocates subjectivity, advocates a return to the middle ages and a return to nature, which has a huge impact on the creation of novels and poems. In terms of novels, besides Hugo's "Notre Dame DE Paris" and dumas' historical novels, it is Balzac and dickens' novels with tense plots, a series of suspense and coincidence and exaggerated language, etc., which are mostly influenced by romantic dramas. In terms of poetry, Shelley's Prometheus unbound and other poetic dramas are also written in the way of drama.

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