情理碰撞、尸体纷呈 : 法国古典主义悲剧之主要特征

Research output: Journal PublicationsJournal Article (refereed)Researchpeer-review

Abstract

17世紀40至90年代,悲劇這一藝術門類在法國巴黎大放光彩,其主要代表人物為高乃依和拉辛。兩位作家都以理智與情欲之對立為主題,推出了一系列催人淚下的悲傷故事。相比之下,高乃依的作品更為豪邁,講述英雄兒女不惜為家族榮譽和國家利益而犧牲愛情;拉辛的作品則比較凄慘,展示壓不住、擋不回的致命欲望。這一"豪"一"凄",組成法國古典主義悲劇的響亮二重奏。 Tragedy as a form of stage art flourished in Paris,France during the last two thirds of the 17 t h century,and its major representatives are Pierre Corneille and Jean Racine. Both playwrights depict as a major theme of their dramatic works the conflict between reason and passion,giving us a long series of very sad and touching stories. Viewed in juxtaposition with each other,the works of Corneille seem more grandiose,telling tales of heroic men and women who are willing to sacrifice their love for the honor of their family and interest of their country; Racine’s works seem to evoke greater pathos among the audience because they often present characters who are crushed by their own insatiable desire. In other words,grandeur and pathos are two prominent features that characterize classical French tragedies.
Original languageChinese (Simplified)
Pages (from-to)145-148
Number of pages4
Journal外国语言文学
Volume2015
Issue number3
Publication statusPublished - 1 Jan 2015

Bibliographical note

文章刊於《外国语言文学》,頁145-148,207,216頁。

Cite this

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title = "情理碰撞、尸体纷呈 : 法国古典主义悲剧之主要特征",
abstract = "17世紀40至90年代,悲劇這一藝術門類在法國巴黎大放光彩,其主要代表人物為高乃依和拉辛。兩位作家都以理智與情欲之對立為主題,推出了一系列催人淚下的悲傷故事。相比之下,高乃依的作品更為豪邁,講述英雄兒女不惜為家族榮譽和國家利益而犧牲愛情;拉辛的作品則比較凄慘,展示壓不住、擋不回的致命欲望。這一{"}豪{"}一{"}凄{"},組成法國古典主義悲劇的響亮二重奏。 Tragedy as a form of stage art flourished in Paris,France during the last two thirds of the 17 t h century,and its major representatives are Pierre Corneille and Jean Racine. Both playwrights depict as a major theme of their dramatic works the conflict between reason and passion,giving us a long series of very sad and touching stories. Viewed in juxtaposition with each other,the works of Corneille seem more grandiose,telling tales of heroic men and women who are willing to sacrifice their love for the honor of their family and interest of their country; Racine’s works seem to evoke greater pathos among the audience because they often present characters who are crushed by their own insatiable desire. In other words,grandeur and pathos are two prominent features that characterize classical French tragedies.",
author = "丁爾蘇",
note = "文章刊於《外国语言文学》,頁145-148,207,216頁。",
year = "2015",
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day = "1",
language = "Chinese (Simplified)",
volume = "2015",
pages = "145--148",
journal = "外国语言文学 = Foreign Language and Literature Studies",
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情理碰撞、尸体纷呈 : 法国古典主义悲剧之主要特征. / 丁爾蘇.

In: 外国语言文学, Vol. 2015, No. 3, 01.01.2015, p. 145-148.

Research output: Journal PublicationsJournal Article (refereed)Researchpeer-review

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AB - 17世紀40至90年代,悲劇這一藝術門類在法國巴黎大放光彩,其主要代表人物為高乃依和拉辛。兩位作家都以理智與情欲之對立為主題,推出了一系列催人淚下的悲傷故事。相比之下,高乃依的作品更為豪邁,講述英雄兒女不惜為家族榮譽和國家利益而犧牲愛情;拉辛的作品則比較凄慘,展示壓不住、擋不回的致命欲望。這一"豪"一"凄",組成法國古典主義悲劇的響亮二重奏。 Tragedy as a form of stage art flourished in Paris,France during the last two thirds of the 17 t h century,and its major representatives are Pierre Corneille and Jean Racine. Both playwrights depict as a major theme of their dramatic works the conflict between reason and passion,giving us a long series of very sad and touching stories. Viewed in juxtaposition with each other,the works of Corneille seem more grandiose,telling tales of heroic men and women who are willing to sacrifice their love for the honor of their family and interest of their country; Racine’s works seem to evoke greater pathos among the audience because they often present characters who are crushed by their own insatiable desire. In other words,grandeur and pathos are two prominent features that characterize classical French tragedies.

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