歐洲文化入門-名詞解釋

歐洲文化入門名詞解釋PaxRomana羅馬帝國統(tǒng)治下的和平IntheRomanhistory，therecametwohundredyearsofpeacefultime，whichwasguaranteed(保證)bytheRomanlegions，itwasknownasPaxRomanaTheNewTestament新約TheBiblewasdividedintotwosections：theOldTestamentandtheNewTestament.TheNewTestamentisaboutthedoctrine(教義)ofJesusChrist.Theword“Testament”means“agreement”，theagreementbetweenGodandMan.Pentateuch摩西五經(jīng)TheOldTestamentconsistsof39books，theoldestandmostimportantofwhicharethefirstfivebooks，calledPentateuch.Pentateuchcontainsfivebooks：Genesis(創(chuàng)世記)，Exodus(出埃及記)，Leviticus(教義記)，Numbers(逃亡記)，Deuteronomy(摩西遺言記)。4．Genesis起源GenesisisoneofthefivebooksinPentateuch，ittellsaboutareligiousaccount(描述)oftheoriginoftheHebrewspeople，includingtheoriginoftheworldandofman，thecareer(經(jīng)歷)ofIssacandthelifeofJacobandhissonJoseph.5．TheHistoricalBooks史書wasdividedintosevensections：①BooksofJoshua②BooksofJudges③BooksofSamuel④BooksofKings⑤BooksoftheChronicles⑥BooksofEzra⑦BooksofNehemiah.6．theMiddleages中世紀(jì)InEuropeanhistory，thethousand-yearperiodfollowingthefalloftheWesternRomanEmpireinthefifthcenturyiscalledtheMiddleAges.Themiddleagesissocalledbecauseitcamebetweenancienttimesandmoderntimes.Tobespecific(具體說來)，fromthe5thcenturyto15thcentury.Thetransitional(過渡時期)periodiscalledthemiddleages，betweenancienttimesandmoderntimes.7.Feudalism封建主義FeudalisminEuropewasmainlyasystemoflandholding(土地所有)—asystemofholdinglandinexchangeformilitaryservice(軍事力量)。Theword“feudalism”wasderived(來源)fromtheLatin“feudum”，agrant(許可的)ofland.8.codeofchivalry騎士制度Asaknight，hewerepledgedtoprotecttheweak，tofightforthechurch，tobeloyaltohislordandtorespectwomenofnoblebirth.Theseruleswereknownascodeofchivalry，fromwhichthewesternideaofgoodmannersdeveloped.Gothic哥特式①TheGothicstylestartedinFranceandquicklyspreadthroughallpartsofWesternEurope.②Itlastedfromthemid-12thtotheendof15thcenturyand，insomeareas，intothe16th.Morechurcheswerebuiltinthismannerthaninanyotherstyleinhistory.③TheGothicwasanoutgrowth(豐富與發(fā)展)oftheRomanesque.(羅馬式)10．TheCanterburyTales：①TheCanterburyTaleswaswrittenbyChaucer.②ChaucerintroducedFrenchandItalywritingtheEnglishnativealliterativeverse.(壓頭韻)③BothChaucerandTheCanterburyTalesarethebestrepresentativeofthemiddleEngliRenaissance名詞解釋11.Renaissance文藝復(fù)興Generallyspeaking，Renaissancereferstotheperiodbetweenthe14thandmid-17thcentury.Theword“Renaissance”meansrevival(復(fù)興)，specificallyinthisperiodofhistory，revivalofinterestinancientGreekandRomanculture.Renaissance，inessence(從實質(zhì)上講)，wasahistoricalperiodinwhichtheEuropeanhumanistthinkersandscholarsmadeattempts(試圖)togetridofconservatism(保守主義思想)infeudalistEuropeandintroducenewideasthatexpressedtheinterestsoftherisingbourgeoisie(資產(chǎn)階級)，tolifttherestrictions(禁忌)inallareasplacedbytheRomanchurchauthorities.(權(quán)利威信)Generallyspeaking，Renaissancereferstotheperiodbetweenthe14thandmid-17thcentury.RenaissancestartedinFlorenceandVenicewiththefloweringofpaintings，sculpture(雕塑)andarchitecture.最早開始于paintingdramaticintensity(強烈的藝術(shù)性)andsentimentalappeal(哀婉的格調(diào))withalotofemphasisonlightandcolour.(強烈的明暗對比)24．Enlightenment啟蒙運動Enlightementwasanintellectual(知識分子)movementoriginatinginFrance，whichattracted(吸引)widespread(普遍的)support(支持)amongtheruling(統(tǒng)治階級)andintellecturalclassesofEuropeandNorthAmericainthesecondhalfofthe18thcentury.Itcharacterizestheefforts(作用)bycertainEuropeanwriterstousecriticalreason(批評推理)tofreemindsfromprejudice(偏見)，unexaminedauthority(權(quán)威)andoppression(壓迫)byChurchorState(國家政權(quán))。ThereforetheEnlightenmentissometimescalledtheAgeofReason(理智的年代)。Thetheoryoftheseparationofpowers三權(quán)分立理論wasputforwardbyMontesquieuinhisworkTheSpiritoftheLaws.Hebelievedthatthelegislative(立法)，executive(行政)andjudicial(司法)powersmustbeconfided(托付)todifferentindividuals，actingindependently.(獨立的行為)ThetheoryoftheseparationofpowerswasacceptedbytheU.S.Constitution.(三權(quán)分立的思想被美國憲法所接受)TheMusicalEnlightenment音樂啟蒙運動Bythebeginningofthe18thcenturytheartofcreatingmusichadbecomealmostentirely(完全)rationalized(理性化)。Itcametoitsrichestfruition(高潮)intheworksofBach(巴赫)andHandel(亨德爾)。BachandHandelrepresentedatrend(趨勢)towardsgreaterregularity(規(guī)律性)ofstyleintheclearlydefinedtypesandforms，inaseries(系列)ofstandardizedformulas(公式)。28．、Romanticism浪漫主義Romanticismwasamovementinliterature，philosophy，musicandartwhichdevelopedinEuropeinthelate18thandearly19thcenturies.StartingfromtheideasofRousseauinFranceandfromtheStormandStressmovement(狂飆運動)inGermany.Romanticismemphasizedindividualvaluesandaspirations(靈感)abovethoseofsociety.Asareaction(反應(yīng))totheindustrialrevolution(工業(yè)革命)，itlookedto(承上啟下)theMiddleAgesandtodirectcontactwithnature(與大自然的直接接觸)forinspiration(靈感)。Romanticismgaveimpetus(動力支持)tothenationalliberationmovement(民族解放運動)in19thcenturyEurope.29．Byronichero拜倫式英雄ByronicherowascreatedbyByronintheRomanticperiodoftheEnglishliterature.TheByronicheroischaracterizedbybraveryandhardworkingspirit，suchasDonJuanasthebestrepresentativeoftheByronichero.30．RomanticMusic浪漫主義音樂承前啟后的年代音樂家是重點TheRomanticMovementinmusicdominated(統(tǒng)治)theperiodabout1830toabout1900.Itwasmerelypartofageneralmovement，which，alloverEurope，especiallyinGermanyandFrance，affected(感染著)allarts.TheRomanticMusicisdividedintotwoperiods：TheearlyRomanticMusicrepresentedbyBeethoven，Schubert，Chopin，Schumann，andthelaterRomanticMusicrepresentedbyBrahmsandTchaikovsky.31.達爾文的進化論Darwin‘stheoryofevolutioncontainsfourmajorarguments：①newspeciesappear(新物種的發(fā)現(xiàn))。②thosenewspecieshaveevolved(進化)fromolderspecies.③Theevolutionofspeciesisresult(導(dǎo)致)ofnaturalselection.④Thenaturalselectiondependsonvariations(變異)andthemaintenance(保護)ofvariationsinspiteof(不管)thetendency(趨勢)ofnaturalselectiontoeliminate(消除)unfit(不適當(dāng)?shù)?variants.Naturalselection名詞解釋32．社會達爾文主義SocialDarwinismFortheterm“naturalselection”Spencersubstituted(替代)thesurvivalofthefittest.(適者生存)33．Realism現(xiàn)實主義名詞解釋Inartandliteraturethetermrealismisusedtoidentify(區(qū)分)aliterarymovementinEuropeandtheUnitedStates(選)inthelasthalfofthe19thcenturyandtheearlyyearsofthe20thcentury.Butthepractice(應(yīng)用)ofrealismisveryoldandcanbetracedbacktoancienttimes.Thisisfundamentally(根本的)thedifferencebetweenromanticismandrealism.InEurope，theRealistmovementarose(起源于)inthe50softhe19thcenturyandhaditsorigininFrance.Itcentredinthenovel(側(cè)重于小說的創(chuàng)作)andlayemphasisonfidelity(準(zhǔn)確的)toactualexperience.(用現(xiàn)實主義創(chuàng)作現(xiàn)實)34．印象主義Impressionism(藝術(shù)的表現(xiàn)形式)名詞解釋Impressionismwasaformofartisticexpressioninthe19thcentury.Itwasmostpervasive(普及)inpainting，butitwasalsofoundinliteratureandart.(在文學(xué)與藝術(shù)中也可發(fā)現(xiàn)他的蹤影)Theterm“impressionism”firstappearedin1874inanewspaperreviewofanexhibitionheldinthestudio(工作室)byagroupofyoungpainters.ItwastakendirectlyfromthetitleofMonet‘s(莫納)Impression：Sunrise.(日出印象)35．(后印象主義)Post-ImpressionismDuringthe2ndhalfofthe19thcentury，F(xiàn)renchimpressionismcreatedadramaticbreakwiththeartofthepast，andcreatedaformofartthatwastoaffect(影響)nearlyeveryambitious(有雄心的)artistintheWesternworld.VanGoghreactedagainstimpressionismbyusingcolourtosuggesthisownemotionandtemperament(氣質(zhì))?，F(xiàn)代主義ModernismModernismwasacomplexanddiverse(復(fù)雜多樣的)internationalmovementinallthecreativearts(創(chuàng)造性藝術(shù))，originatingabouttheendofthe19thcentury.Itprovided(出現(xiàn))thegreatestcreativerenaissanceofthe20thcentury.Itwasmadeupofmanyfacets(方面)，suchassymbolism，surrealism(超現(xiàn)實主義)，cubism(立體主義)，expressionism，futurism(未來主義)，ect.37．TheEgoandId(自我與本我)Id本我Freuddividedhumanpersonalityintothreefunctionalparts—Id，EgoandSuperego.TheIdisthecontainer(容器)oftheinstinctualurges(本能的主張)。Itistheunconscious(無意識的)partofmind，whichseeks(查找)immediate(即刻的)satisfactionofdesires(欲望)。Idisconcernedwithwhatapersonwantstodo.Ego自我Freuddividedhumanpersonalityintothreefunctionalparts—Id，EgoandSuperego.Egoistherational(理性的)，thoughtful(深思的)，realisticpersonalityprocess.Itischaracterizedbyadesireforindependence(獨立的)，autonomy(自發(fā)的)andself-direction.Egoisconcernedwithability.Freuddividedhumanpersonalityintothreefunctionalparts—Id，EgoandSuperego.Superego超我istheidealized(理想化的)imagethatapersonbuildsofhimselfinresponse(反映，響應(yīng))toauthority(權(quán)威)andsocialpressures(壓力)。38.俄狄浦斯情結(jié)：OedipusComplexOedipusComplexisaFreudiantermoriginatingfromaGreektragedy，inwhichKingOedipusunknowinglykilledhisfatherandmarriedhismother.OedipusComplexwasestablishedbyFreud.39.迷失的一代：TheLostgenerationTheLostgenerationreferstoagroupofyoungintellectuals(知識分子)whocamebackfromwar，wereinjured(受傷害)bothphysically(身體上)andmentally(精神上)。Theylivedbyindulging(放任)themselvesintheBohemian(波西米亞)wayoflife.TheirAmericandreamwasdisillusioned(破滅了)。ThebestrepresentativeofthelostgenerationwasErnestHemingway.40.垮掉的一代：TheBeatGenerationTheBeatGenerationinAmericareferstoagroupofAmericanyoungsters(兒童)whorefusedtoaccept“respectability”andconventional(傳統(tǒng)的)socialbehaviourandwhocultivated(培養(yǎng))arootlessmannerofliving.Thedistinctivefeatures(有特色的特征)oftheBeatGenerationisthattheyusedaspecialslanglanguageandlovedjazz.TheBeatGenerationwasrepresentedbyGinsberg‘sHowl(嚎叫)andJackKeroual‘sontheroad.41．年輕憤怒的一代：AngryYoungMenAngryYoungMenwasatermreferringtoagroupofEnglishwriterswhofoundthemselvestobesocialmisfits(不能適應(yīng)環(huán)境的人)。Theyfelttheyweresociallystateless(無政府狀態(tài))。Eventhoughtheywereuniversitygraduates.Theywereverysensitive(敏感)totheundesirable(討厭的人)thingsofthesociety.AngryYoungMenwasrepresentedbyJohnOsborne‘splayLookBackinAnger(憤怒問題)andAmis’novelLuckyJim.42、新小說主義：NouveauRomanNouveauRomanreferstosome20th–centuryFrenchnovels.ThetermNouveauRomancameintobeingwiththepublication(發(fā)表)ofsomeessays(短文)byGrillet(新小說主義源于他)，aFrenchwriter.TheNewNoveltendstobeobjective(客觀的)。Humancharactersareonanequalfooting(地位)withthings.TheNewNoveliststrytoavoidtakingsides(走極端)whentheycometothedescriptionofcharacters，makingnodistinction(不加以區(qū)別)betweengoodandbadorbetweenimportantandtrivial(平凡)。Therefore，theircharactersareoftenshapeless(無形狀態(tài))andsometimesevennameless(沒有姓名)。43、存在主義：ExistentialismExistentialismisaphilosophy(哲學(xué)傾向)thatbecameaself-consciousmovement(自發(fā)的運動)inthe20thcentury.Itsbasicconcernishumanexistence(人的存在)。Akeyconcept(關(guān)鍵概念)ofexistentialismisthatmanisonlywhathemakesofhimself.ExistentialisminliteraturewasrepresentedbyBernardShaw‘sproblemplays.AndSartre’s(薩達爾)BeingandNothingness(存在與虛無)。44．荒誕?。篢heTheatreoftheabsurdTheTheatreoftheabsurdisatermreferringtotheworksofsomeEuropean，particularlyFrench，playwrights(劇作家)ofthe1950sand60s.Theword“absurd”originatedfromtheworksofCamus(加謬斯)。TheplaywritersoftheTheatreoftheabsuredemployed(被使用)manytechniquesusedbythepopulartheatresuchas：acrobatics(雜技)。Theirlanguageisveryoftendislocated(錯位)，withplentyofjargon(行話)，clichés(老生常談)andrepetitions(反復(fù)使用)。TheTheatreoftheAbsurdofrepresentedbyBeckett‘s(貝克特)waitingforGodot(等待哥達)。45.黑色幽默：BlackHumourBlackHumourisatermderived(源于)fromBlackComedy.ItsorigincanbetracedbacktoShakespeare‘stime.Butnowtheterm(術(shù)語)isusuallyusedtorefertosomeWestern，especiallyAmericanPost-WorldWarⅡwriters.Blackhumouriskindofdesperatehumour(會讓人產(chǎn)生絕望的幽默)。InBlackhumour，man’sfateisdecidedbyincomprehensiblepowers.(人的命運自有安排)BlackhumourwasrepresentedbyJosephHeller‘sCatch-22.46.野獸派：FauvismTheFauvismexpressedtheiremotionalreactiontothesubjectintheboldestcolourandstrongestpatternoflines(表現(xiàn)強烈的情感)。Theypreferredthistoobjectiverepresentation.(支持主觀反對客觀)InthiswaytheFauvesfreedcolourfromitstradition.(解放了傳統(tǒng)對色彩的束縛)47．表現(xiàn)主義：ExpressionismExpressionistartismarkedbytheexpressionofreality(對現(xiàn)實的意志)by