| 1789年至1848年是法国汗青上最为波涛壮阔的一段时代，一切仿佛都在变更与更生当中赓续地被推倒和树立。绘画在此时也产生着深入的转型，这类转型表示为两个方面：从题材下去说，宗教必定式微的危机作为一个主题显现出来，小说、戏剧、诗歌成为绘画重要表示的内容；从叙事形式下去说，绘画中开端涌现了文学的描写性、戏剧性和诗意的后果。可以说，法语论文范文，从18世纪末开端，绘画的题材和叙事形式完成了两重转型。这类两重转型是文学所赐赉的。由于在18世纪末至19世纪上半叶的法国，文学成了一种主导的艺术情势。18世纪发蒙活动和中产阶层的突起招致全社会涌现广泛的非宗教偏向，文人位置的进步，职业作家的增多，书商对于出书自在的争夺，都使文学解脱宗教性和精英性，走向世俗化和市场化。与此同时，印刷术的改造，识字率的上升，剧院的繁华，公共阅览室的普及等要素导致浏览群体慢慢扩大至社会的各个阶级。在浪漫主义盛期，夏多布里昂、雨果、拜伦、歌德、司各特等文学家成了时期的偶像，他们的辉煌覆盖在包含绘画在内的一切艺术范畴。弗成否定的是，在反动高潮与独裁权势此消彼长的年月里，这一切终究是与认识形状、社会变更或时期精力慎密相连。但不管是发蒙主义的幻想，照样拿破仑的大志壮志，不管是中产阶层新贵的突起，照样反动掉败后的“世纪病”，在此时倒是以书摊上争相传阅新爱洛伊斯的读者，遍及法国地下的盗疆土书，剧院里相互扔掷伞具和拐杖的自在派和保皇派不雅众，追随着少年维特和查铁顿自陨性命的文艺青年，浪漫主义绘画中的拜伦情调等详细的措施而存在的，又是以如斯过细的措施作用了绘画艺术的两重转型的。是以，法语论文，本文拟从社会文明史的角度，以新古典主义和浪漫主义绘画例，对1789至1848年法国绘画中的文学题材和叙事形式的转型停止深刻探寻。 Abstract: From 1789 to 1848 is the most magnificent billow of a paragraph of period of French history, everything seems to be in the change and renewal ceaselessly is set up and tear down. Painting at this time also has a thorough transformation, this transition said two aspects: down the subject matter, the crisis of religion must decline as a theme emerged, poetry, drama and fiction become painting important content; from the narrative form on that painting began to appear the literary description, dramatic and poetic consequences. It can be said that from the beginning of the end of eighteenth Century, the theme of painting and narrative form to complete a double transformation. This kind of dual transformation is given by literature. From the late eighteenth Century to the first half of nineteenth Century, literature became a dominant form of art. The projections of the 18th century enlightenment and middle-class lead the whole society to the emergence of a wide range of non religious bias, the progress of literati position, rise of the professional writer, booksellers about book free competition, the literature free of religion and elite of, secularization and commercialization. At the same time, the transformation of printing, the rise of the literacy rate, the prosperity of the theater, the popularity of public reading room and other factors led to the view of the group gradually extended to the various classes of society. In the romantic peak, Chateaubriand, Hugo, Byron, Goethe, Scott and other writers into the period of the idol, the splendor of their cover in painting, all the art category contains. Eph into is negative, in the reactionary climax and dictatorial power shift in the years, all this is ultimately shape recognition, social change or period energy cheek by jowl connected with. But regardless of the enlightenment doctrine of fantasy, still Napoleon's ambition, regardless of the projections of the newly rich middle class, still reactionary off after the defeat of the "disease of the century", in at this time is to bookstall, eager to circulate the new aurora Islamic "readers, throughout the French underground stolen territory book, theatre in mutual throwing umbrella with a cane and liberal and monarchist audience follow the Young Werther and Chatterton meteorite life literary youth, romantic painting Byron atmosphere and detailed methods and to so meticulous methods influence the painting art of the double transformation of. In this paper, from the perspective of the history of social civilization, the new classical and romantic painting examples, the 1789 to 1848 French painting in the literary themes and narrative form of the profound analysis of the transformation. 目录: 中文摘要 5-6 Abstract 6 绪论 9-20 一、提出问题 9-14 二、探讨近况 14-16 三、探讨措施 16-18 四、论文结构 18-20 第一章 启蒙时代的遗产 20-43 一、文人角色的转变与职业作家的出现 20-25 二、印刷术的力量与文学的平民化 25-32 三、阅读的普及与教育水平的提高 32-36 四、作为公共领域的剧院 36-43 第二章 文学下的反叛：从高乃依的贺拉斯到达维特的贺拉斯兄弟的宣誓 43-82 一、古典主义文学中的二元对立 44-48 二、贺拉斯与爱国者 48-52 三、达维特的贺拉斯兄弟的宣誓 52-57 四、动作的革命 57-69 五、舞台上的贺拉斯 69-77 六、戏剧性与18世纪末法国绘画的转型 77-82 第三章 英雄背后的阴影：1790至1810年代的法国绘画 82-120 一、新古典主义中的逆流 82-86 二、哥特式文学的兴起 86-98 三、画家-诗人与流亡作家 98-112 四、法国的反动 112-120 第四章 浪漫主义者的生活 120-168 一、1824年沙龙 120-129 二、剧院里的斗争 129-146 三、阅读的时代 146-155 四、作为偶像的文学家们 155-168 结论 168-173 一、1848年以后的法国绘画 168-171 二、双重转型 171-173 参考文献 173-186 图版 186-215 附录 215-228 1、图片说明和索引 215-222 2、文学家人名译表 222-225 3、主要文学著作译名表 225-228 致谢 228 |
