現(xiàn)實(shí)主義和自然主義(英語(yǔ))課件

RealismandNaturalismRealismBackgroundIntroductionRealistLiteratureRealistPaintingBackgroundofRealismTheHistoricalBackgroundTherealistmovementwasgreatlyinfluencedbythedevelopmentofscienceinthe19thcentury.Theageofrealismwastheageofrailway,wirelesstelegraphyandcountlessothermechanicalinventionsthatrevolutionizedthenatureofsocietywithinaveryshotspanoftime.ThechiefdifferencebetweenRomanticismandRealism:Romanticismemphasizedindividualvaluesandaspirationabovethoseofsociety.TheRealistmovementcenteredinthenovelandlayemphasisonfidelitytoactualexperience.IntroductiontoRealism

RealisminFranceappearsafterthe1848Revolution.InFranceitexpressesatastefordemocracy.AtthesametimeinEnglandartists-RealistscamebeforethepublicwiththereactionagainsttheVictorianmaterialismandtheconventionsoftheRoyalAcademyinLondon.Realism(withanuppercase"R"),alsoknownastheRealistschool,denotesamid-nineteenthcenturyartmovementandstyleinwhichartistsdiscardedtheformulasofNeoclassicismandthetheatricaldramaofRomanticismtopaintfamiliarscenesandeventsastheyactuallylooked.Typicallyitinvolvedsomesortofsociopoliticalormoralmessage,inthedepictionofuglyorcommonplacesubjects.

LiteraryRealismLiteraryrealismmostoftenreferstothetrend,beginningwithcertainworksofnineteenth-centuryFrenchliteratureandextendingtolate-nineteenth-andearly-twentieth-centuryauthorsinvariouscountries,towardsdepictionsofcontemporarylifeandsociety"astheywere."Inthespiritofgeneral"realism,"Realistauthorsoptedfordepictionsofeverydayandbanalactivitiesandexperiences,insteadofaromanticizedorsimilarlystylizedpresentation.JorgeLuisBorges,inanessayentitled"TheScandinavianDestiny",attributedtheearliestdiscoveryofRealisminliteraturetotheNorthmenintheIcelandicSagas,althoughitwassoonlostbythemalongwiththecontinentofNorthAmerica現(xiàn)實(shí)主義文學(xué)特點(diǎn)

現(xiàn)實(shí)主義文學(xué)作品具有三個(gè)特點(diǎn)：

一是細(xì)節(jié)的真實(shí)性

要有真實(shí)的細(xì)節(jié)描寫，用歷史的、具體的人生圖畫來(lái)反映社會(huì)生活。現(xiàn)實(shí)主義作品是以形象的現(xiàn)實(shí)性和具著名油畫傳達(dá)出來(lái)的現(xiàn)實(shí)主義文學(xué)特征體性來(lái)感染人的，因此能使讀者如入其境，如見其人?，F(xiàn)實(shí)主義文學(xué)特點(diǎn)二是形象的典型性通過(guò)典型的方法，對(duì)現(xiàn)實(shí)的生活素材進(jìn)行選擇、提煉、概括，從而深刻地揭示生活的某些本質(zhì)特征?？梢哉f(shuō)，典型化是現(xiàn)實(shí)主義的核心，是區(qū)別于自然主義的標(biāo)志。Realistliterature(France)Stendhal(1783-1842)PennameofMarieHenriBeyleFrenchwriteroneoftheforemostandearliestpractitionersoftherealisticformthefirsttofeaturepsychologicalanalysisofthecharacterHisworks: Armance LeRougeetleNoir(TheRedandtheBlack) LaChartreusedeParme(TheCharterhouseofParma)司湯達(dá)（1783年-1842年）《紅與黑》《巴馬修道院》Realistliterature(France)1841年，巴爾扎克制定了一個(gè)宏偉的創(chuàng)作計(jì)劃，決定寫137部小說(shuō)，分風(fēng)俗研究、哲理研究、分析研究三大部分，總名字叫《人間喜劇》，全面反映19世紀(jì)法國(guó)的社會(huì)生活，寫出一部法國(guó)的社會(huì)風(fēng)俗史。到巴爾扎克逝世時(shí)，《人間喜劇》已完成了91部小說(shuō)。這些小說(shuō)中最有名的就是《歐也妮·葛朗臺(tái)》(EugénieGrandet,1833)和《高老頭》(LePèreGoriot,1835)。Realistliterature(Russia)NikolaiGogol(1809-1852)Russianwriter,humoristThefirstmasteroffictioninRussiatoleaveromanticconventionsandgotolifeforhissubjects. ConsideredthefounderofrealisminRussianliterature.Masterpiece:DeadSou尼古拉果戈理Realistliterature(Russia) Chichikov乞乞可夫,thechiefcharacter,movesaboutthecountrybuyingserfswhohavediedsincethelastcensusbutwhomustbecarriedonthetaxrolluntilthenextcensus. ThisnovelisapictureoftheworstaspectsofRussianlife,theinhumanityoftheownersoftheserfs,thevanityandimmoralityoftheupperclasses. ThecommentwhichPushkin(普希金)

makewhenhereadthemanuscriptofDeadSoulisfamous:God!WhatasadcountryisRussia!Gogolinventsnothing:itisthetruth,theterribletruth.Realistliterature(Russia)為俄國(guó)文學(xué)家果戈理的代表作品。小說(shuō)的第一部出版於1842年，果戈理還沒有完成預(yù)定計(jì)劃中的第三部，便於1852年去世。這本書的主題得自於普希金。雖然這部小說(shuō)最後以中斷的句子做為結(jié)束，它仍被視為一部完整的作品。是四大著名吝嗇鬼小說(shuō)之一

講述的是六等文官乞乞科夫買賣死魂靈的故事。乞乞科夫來(lái)到某市先用一個(gè)多星期的時(shí)間打通了上至省長(zhǎng)下至建筑技師的大小官員的關(guān)系，而后去市郊向地主們收買已經(jīng)死去但尚未注銷戶口的農(nóng)奴，準(zhǔn)備把他們當(dāng)做活的農(nóng)奴抵押給監(jiān)管委員會(huì)，騙取大筆押金。他走訪了一個(gè)又一個(gè)地主，經(jīng)過(guò)激烈的討價(jià)還價(jià)，買到一大批死魂靈，當(dāng)他高高興興地憑著早已打通的關(guān)系迅速辦好了法定的買賣手續(xù)后，其罪惡勾當(dāng)被人揭穿，檢查官竟被謠傳嚇?biāo)?，乞乞科夫只好匆忙逃走。四大著名吝嗇鬼小說(shuō)之一夏洛克——莎士比亞，《威尼斯商人》阿巴貢——莫里哀，《慳吝人》老葛朗臺(tái)——巴爾扎克，《歐也妮葛朗臺(tái)》潑留希金——果戈理，《死魂靈》Realistliterature(Russia)IvaNSergeyevichTurgenev(1818-1883）伊凡·謝爾蓋耶維奇·屠格涅夫 ThefirstRussianauthortogainrecognitionintheWest. Hewasthemanwhoopenedthedoorsforyoungercontemporaries,TolstoyandDostoevskyHisfirstimportantwork:AHunter’sSketches《獵人筆記》， Describesthemiserablelifeofthepeasants. Itseffectsontheabolitionofserfdom廢除農(nóng)奴制度inRussiahadoftenbeencomparedtothatofHarrietBeechStowe’sUncleTom’sCabinontheabolitionofslaveryintheUnitedStates.FathersandSons)《父與子》 Hisbestknownwork regardedasoneofthedefiningworksofthe19th-centuryfictionRealistliterature(Russia)AntoPavlovichChekhov(1860-1904)安東·巴甫洛維奇·契訶夫RussianDramatist,novelistHestudiesmedicineandpractiseditforatime.Healwaysfeltasinceresympathyforthepoorandtheoppressed,afeelingwhichwasdeepenedbyhiscontactsasaphysicianChekhovdifferssharplyfromthetwogiantsofRussianliterature,TolstoyandDostoyevsky.Hisworkisofsmallerscope.Hemainlywroteshortstoriesandplays.Hisworks:TheManintheShell《套中人》andAChameleon《變色龍》.Plays:TheSeagull海鷗,UncleVanya萬(wàn)尼亞叔叔,ThethreeSisters三姐妹,andTheCherryOrchard

《櫻之園》.TheyhavebecomeclassicsofworldtheaterRealistliterature(Russia)CountLeoTolstoy(1828-1910)RussianwriterandphilosopherTolstoymadetheRussianrealisticnovelaliterarygenrethatranksinimportancewithclassicalGreekTragedyandElizabethanDrama.Hisgreatworks:WarandPeace,AnnaKarenina,thetwobooksstandatthepeakofrealisticfiction托爾斯泰BarbizonSchoolBarbizonSchool(1840s-1850s)

巴比松畫派,巴比松畫派(法國(guó)19世紀(jì)中期浪漫主義風(fēng)景畫派因該派畫家米勒等多住在法國(guó)北部巴比松村,故名),

BarbizonSchoolwasagroupofFrenchlandscapeartistsoneoffirstformedoutsidetheAcademy.TheywerenamedaftertheForestofFonteblaunearthevillageofBarbizonwheretheygotawayfromtherevolutionaryParistoproducetheirart.Theyattemptedtopaintnaturedirectly;Constablewhopioneeredinmakinglandscapepaintingafaithfuldepictionofnaturewastheirmodel.

TheBarbizonpaintershelpedestablishlandscapeandmotifofcountrylifeasvitalsubjectsforFrenchartists.Theyalsocherishedaninterestinvisiblereality,whichbecameincreasinglyimportanttothelaterartisticstyles.ArtistsinthegroupareTheodoreRousseau，

Jean-Fran?oisMillet，

GustaveCourbet

GustaveCourbet

古斯塔夫·庫(kù)爾貝JeanDésiréGustaveCourbet(10June1819–31December1877)wasaFrenchpainterwholedtheRealistmovementin19th-centuryFrenchpainting.Thoughaprosperousfarmingfamily,anti-monarchicalfeelingsprevailedinthehousehold.“IamfiftyyearsoldandIhavealwayslivedinfreedom;letmeendmylifefree;whenIamdeadletthisbesaidofme:'Hebelongedtonoschool,tonochurch,tonoinstitution,tonoacademy,leastofalltoanyrégimeexcepttherégimeofliberty.”

GustaveCourbet古斯塔夫·庫(kù)爾貝TheArtist'sStudio(L'Atelierdupeintre):ARealAllegoryofaSevenYearPhaseinmyArtisticandMoralLife,1855,359×598cm(141.33×235.43in)《畫室》的全名叫《畫家的工作室——一個(gè)現(xiàn)實(shí)的寓意，概括了我7年來(lái)藝術(shù)生活的情況》。畫家的立意在于展示自己從1848年以來(lái)的藝術(shù)創(chuàng)作生涯，并寄寓一種意味深遠(yuǎn)的社會(huì)哲理。畫家把7年來(lái)對(duì)生活和思想有影響的朋友和他曾經(jīng)畫過(guò)的模特兒集中畫在一個(gè)畫面上。另外還集中了上流社會(huì)各個(gè)階層的形象，表現(xiàn)一個(gè)法國(guó)社會(huì)的縮影。Jean-Fran?oisMillet

尚法蘭索瓦米勒RealismJean-Fran?oisMillet(October4,1814–January20,1875)wasaFrenchpainterandoneofthefoundersoftheBarbizonschoolinruralFrance.Milletisnotedforhisscenesofpeasantfarmers;hecanbecategorizedaspartofthenaturalismandrealismmovementsJean-Fran?oisMillet(讓-法蘭索瓦米勒)讓-弗朗索瓦·米勒（Jean-Fran?oisMillet，1814年10月4日－1875年1月20日）法國(guó)巴比松派畫家。以鄉(xiāng)村風(fēng)俗畫中感人的人性在法國(guó)畫壇聞名。他以寫實(shí)徹底描繪農(nóng)村生活而聞名，是法國(guó)最偉大的田園畫家。TheGleanersTheGleaners,1857.Muséed'Orsay,Paris.ThisisoneofthemostwellknownofMillet'spaintings,TheGleaners(1857).WalkingthefieldsaroundBarbizon,onethemereturnedtoMillet'spencilandbrushforsevenyears—gleaning—thecenturiesoldrightofpoorwomenandchildrentoremovethebitsofgrainleftinthefieldsfollowingtheharvest.Hefoundthethemeaneternalone,linkedtostoriesfromtheOldTestament.TheGleanersAwarmgoldenlightsuggestssomethingsacredandeternalinthisdailyscenewherethestruggletosurvivetakesplace.DuringhisyearsofpreparatorystudiesMilletcontemplatedhowtobestconveythesenseofrepetitionandfatigueinthepeasants'dailylives.Linestracedovereachwoman’sbackleadtothegroundandthenbackupinarepetitivemotionidenticaltotheirunending,backbreakinglabor.Alongthehorizon,thesettingsunsilhouettes[?silu:?et]剪影

thefarmwithitsabundantstacksofgrain,incontrasttothelargeshadowyfiguresintheforeground.Thedarkhomespun家里(織)的dressesofthegleanerscutrobustformsagainstthegoldenfield,givingeachwomananoble,monumentalstrength.TheGleaners《拾穗者》便是最能夠代表米勒風(fēng)格的一件作品，它沒有表現(xiàn)任何戲劇性的場(chǎng)面，只是秋季收獲后，人們從地里揀拾剩余麥穗的情景。畫面的主體不過(guò)是三個(gè)彎腰拾麥穗的農(nóng)婦而已，背景中是忙碌的人群和高高堆起的麥垛。這三人與遠(yuǎn)處的人群形成對(duì)比，她們穿著粗布衣衫和笨重的木鞋，體態(tài)健碩，談不上美麗，更不好說(shuō)優(yōu)雅，只是謙卑地躬下身子，在大地里尋找零散、剩余的糧食。然而，這幅內(nèi)容樸實(shí)的畫作卻給觀眾帶來(lái)一種不同尋常的莊嚴(yán)感。米勒一般采用橫的構(gòu)圖，讓紀(jì)念碑一般的人物出現(xiàn)在前景的原野上。三個(gè)主體人物分別戴著紅、藍(lán)、黃色的帽子，衣服也以此為主色調(diào)，牢牢吸引住觀眾的視線。她們的動(dòng)作富于連貫性，沉著有序，布置在畫面左側(cè)的光源照射在人物身上，使她們顯得愈發(fā)結(jié)實(shí)而有忍耐力?；蛟S長(zhǎng)時(shí)間的彎腰勞作已經(jīng)使她們感到很累了，可她們?nèi)栽趫?jiān)持。盡管臉部被隱去了，而她們的動(dòng)作和軀體更加富于表情——忍耐、謙卑、忠誠(chéng)。Jean-Fran?oisMillet

(讓-法蘭索瓦米勒)作品：《晚禱》，TheAngelus，1857年~1859年，收藏于奧塞美術(shù)館《牧羊女與羊群》，1864年，收藏于奧塞美術(shù)館《播種者》，TheSower,1850年，收藏于美國(guó)麻州波士頓美術(shù)館牧羊女與羊群播種者《播種者》穿著大木靴，腰掛種子袋，一面右手撒種子，一面重復(fù)地一步步向前走。用歐洲的耕種方法，這樣撒種子以后，就要讓馬曳犁把土埋上。然而我們看畫面，在撒種子的農(nóng)民后面，飛來(lái)幾十只鳥兒，想吃凈他撒的種子。NaturalismNaturalismrefersspecificallytoaliterarymovementthattookplaceinAmerica,EnglandandFranceduringthelate1800’sandearly1900’s,whichproducedauniquetypeof“realistic”fiction.NaturalismVSrealismRealismportraysliferealisticallywithout“sugarcoating.”Realiststryto“writereality”Records“thesmallerdetailsofeverydaylife,thingsthatarelikelytohappenbetweenlunchandsupper”Portrayslocalcolor,attempingtoaccuratelyportraythecustoms,speech,dress,andlivingconditionsoftheirchosenlocate.Rejectthereadlizedpresentations,imaginativesettings,thesupernatural,andtheimprobableplottwistsofromanticismNaturalismisessentiallyrealismwithanadditionalfacet:determinismDeterminismCharactersdonothavefreewill;externalandinternalforcescontroltheirbehavior.Thisbeliefiscalleddeterminism.Alldeterministsbelieveintheexistenceofthewill,butthewillisenslavedduetoamultitudeofreasons.Charactersattemptingtoexercisefreewillarehamstrungbyforcesbeyondtheircontrol.Character’sasMarionettes（木偶）Naturalistsviewindividualsasbeingatthemercyofbiologicalandsocioeconomicforces,whereasrealistsholdthathumanshavesomedegreeoffreewillthattheycanexercisetoaffecttheirsituations.Thingshappentopeople,asiftheyweremarionetteswhosemovementsareentirelydeterminedbyforcesbeyondtheircontrol.自然主義自然主義（LeNaturalisme）是文學(xué)藝術(shù)創(chuàng)作中的一種傾向。作為創(chuàng)作方法，自然主義一方面排斥浪漫主義的想象、夸張、抒情等主觀因素，另一方面輕視現(xiàn)實(shí)主義對(duì)現(xiàn)實(shí)生活的典型概括，而追求絕對(duì)的客觀性，崇尚單純地描摹自然，著重對(duì)現(xiàn)實(shí)生活的表面現(xiàn)象作記錄式的寫照，并企圖以自然規(guī)律特別是生物學(xué)規(guī)律解釋人和人類社會(huì)。在文學(xué)藝術(shù)上，以“按照事物本來(lái)的樣子去摹仿”作為出發(fā)點(diǎn)的自然主義創(chuàng)作傾向，是同現(xiàn)實(shí)主義創(chuàng)作傾向一樣源遠(yuǎn)流長(zhǎng)的。但作為一個(gè)比較自覺的、具有現(xiàn)代含義的文藝流派，自然主義則是19世紀(jì)下半葉至20世紀(jì)初在法國(guó)興起，然后波及歐洲一些國(guó)家，并影響到文化和藝術(shù)的許多部門。émileZola埃米爾·左拉émileFran?oisZola(Frenchpronunciation:

[z?.la];2April1840–29September1902)wasaFrenchwriter,themostimportantexemplaroftheliteraryschoolofnaturalismandanimportantcontributortothedevelopmentoftheatricalnaturalism.HewasamajorfigureinthepoliticalliberalizationofFranceandintheexonerationofthefalselyaccusedandconvictedarmyofficerAlfredDreyfus,whichisencapsulatedintherenownednewspaperheadlineJ'AccuseémileZola埃米爾·左拉

埃米爾·左拉，法國(guó)作家，自然主義創(chuàng)始人，1872年成為職業(yè)作家，左拉是自然主義文學(xué)流派的領(lǐng)袖。

19世紀(jì)后半期法國(guó)重要的批判