해석좀 해주세요 내공있는거 다드려요
-
게시물 수정 , 삭제는 로그인 필요
French literature is, generally speaking, literature written in the French language, particularly by citizens of France; it may also refer to literature written by people living in France who speak traditional languages of France other than French. Literature written by citizens of other nations such as Belgium, Switzerland, Canada, Senegal, Algeria, Morocco, etc. is referred to as Francophone literature. As of 2006, French writers have been awarded more Nobel Prizes in Literature than novelists, poets and essayists of any other country. France itself ranks first in the list of Nobel Prizes in literature by country.
(French literature is written
1. by
2.
3.
4.
Please chosse the wrong answer)
French literature of the 19th century refers to literature works written before and after that time. Many of the developments in French literature in this period parallel changes in the visual arts.
In the last half of the century, "naturalism", "parnassian" poetry, and "symbolism", among other styles, were often competing tendencies at the same time. Some writers did form into literary groups defined by a name and a program or manifesto. In other cases, these expression_(I'll show you four ways the expression_(The names of two writers of romanticism)
French romanticism used forms such as the historical novel, the romance, the ("roman noir" ***) or Gothic novel; subjects like traditional myths (including the myth of the romantic hero), nationalism, the natural world (i.e. elegies by lakes), and the common man; and the styles of lyricism, sentimentalism, exoticism and orientalism.[citation needed] Foreign influences played a big part in this, especially those of Shakespeare, Sir Walter Scott, Byron, Goethe, and Friedrich Schiller.[citation needed] French Romanticism had ideals diametrically opposed to French (classicism***) and the classical unities, but it could also express a profound loss for aspects of the pre-revolutionary world in a society now dominated by money and fame, rather than honor.[citation needed]
In France, (Hugo ***)'s literary fame comes first from his poetry but also rests upon his novels and his dramatic achievements. Among many volumes of poetry, Les Contemplations and La Légende des siècles stand particularly high in critical esteem, and Hugo is sometimes identified as the greatest French poet. Outside France, his best-known works are the novels Les Misérables and Notre-Dame de Paris (known in English also as The Hunchback of Notre-Dame).
(Gérard de Nerval ***) (French pronunciation: [ʒeʁaʁ də nɛʁval]; May 22, 1808 – January 26, 1855) was the nom-de-plume of the French poet, essayist and translator Gérard Labrunie, one of the most essentially Romantic French poets.
His talent for translation was made manifest in his translation of Goethe's Faust (1828), the work which earned him his reputation.
(Gérard de Nerval ***) Increasingly poverty-stricken and disoriented, he finally committed suicide during 1855, hanging himself from a window grating. He left only a brief note to his aunt: "Do not wait up for me this evening, for the night will be black and white."[1] He was interred in the Père Lachaise Cemetery in Paris.
Romanticism was a complex artistic, literary, and intellectual movement that originated in the second half of the 18th century in (Europe ***), and gained strength in reaction to the Industrial Revolution.[1] In part, it was a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalisation of nature,[2] and was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography,[3] education[4] and natural history.[5]
Key ideas from early French Romanticism:
"La vague des passions" (waves of sentiment and passion) - Chateaubriand maintained that while the imagination was rich, the world was cold and empty, and rationalism and civilization had only robbed men of their illusions; nevertheless, a notion of sentiment and passion continued to haunt men.[citation needed]
"Le mal du siècle" (the pain of the century) - a sense of loss, disillusion, and aporia, typified by melancholy and lassitude.(2 questions ***)
The movement validated strong emotion as an authentic source of aesthetic experience, placing new emphasis on such emotions as (trepidation, horror and terror and awe *** one another answer wrong)—especially that which is experienced in confronting the sublimity of untamed nature and its picturesque qualities, both new aesthetic categories. It elevated folk art and ancient custom to something noble, made of spontaneity a desirable character (as in the musical impromptu), and argued for a "natural" epistemology of human activities as conditioned by nature in the form of language and customary usage.
Romanticism reached beyond the rational and Classicist ideal models to elevate a revived medievalism and elements of art and narrative perceived to be authentically medieval, in an attempt to escape the confines of population growth, urban sprawl, and industrialism, and it also attempted to embrace the (exotic, unfamiliar, and distant *** the same as above) in modes more authentic than Rococo chinoiserie, harnessing the power of the imagination to envision and to escape.
Although the movement was rooted in the German Sturm und Drang movement, which prized intuition and emotion over Enlightenment rationalism, the ideologies and events of the French Revolution laid the background from which both Romanticism and the Counter-Enlightenment emerged. The confines of the Industrial Revolution also had their influence on Romanticism, which was in part an escape from modern realities; indeed, in the second half of the 19th century, "Realism" was offered as a polarized opposite to Romanticism.[6] Romanticism elevated the achievements of what it perceived as heroic individualists and artists, whose pioneering examples would elevate society. It also legitimized the individual imagination as a critical authority, which permitted freedom from classical notions of form in art. There was a strong recourse to historical and natural inevitability, a zeitgeist, in the representation of its ideas.
Romanticism in England and Germany largely predate French romanticism, although one finds a kind of "pre-romanticism" in the works of Senancour and Jean-Jacques Rousseau (among others) at the end of the 18th century.[citation needed] French Romanticism took definite form in the works of François-René de Chateaubriand and Benjamin Constant and in Madame de Staël's interpretation of Germany as the land of romantic ideals.[citation needed] It found early expression_(I'll give you some explanations about the romanticism, which one is not correct.***)
Adolphe, the narrator, is the son of a government minister. Introverted from an early age, his melancholy outlook has been formed by conversations with an elderly friend, whose insight into the folly and hypocrisy of the world has hindered rather than helped her in life. When the novel opens, he is 22 years old and has just completed his studies at the University of Göttingen. He travels to the town of D*** in Germany, where he becomes attached to the court of an enlightened Prince. During his stay he gains a reputation for an unpleasant wit. A friend's project of seduction inspires him to try something similar with the 32-year-old lover of the Comte de P***, a beautiful Polish refugee named Ellénore. The seduction is successful, but they both fall in love, and their relationship becomes all-consuming, isolating them from the people around them.
Eventually Adolphe becomes anxious as he realises that he is sacrificing any potential future for the sake of Ellénore. She persuades him to extend his stay by six months, but they quarrel, and when she breaks with the Comte de P*** and leaves her two children in order to be with him, and tends him after he is injured in a duel, he finds himself hopelessly indebted to her.
When he leaves the town of D***, Ellénore follows him, only to be expelled from his home town by Adolphe's father. Adolphe is furious and together they travel to her newly-regained estate in Poland. However, a friend of the father, the Baron de T***, manipulates Adolphe into promising to break with Ellénore for the sake of his career. The letter which contains the promise is forwarded to Ellénore and the shock leads to her death. Adolphe loses interest in life, and the alienation with which the book began returns in a more serious form.(some questions ***)
Victor Hugo was the outstanding genius of the Romantic School and its recognized leader.[citation needed] He was prolific alike in poetry, drama, and fiction. Other writers associated with the movement were the austere and pessimistic Alfred de Vigny, Théophile Gautier a devotee of beauty and creator of the "Art for art's sake" movement, and Alfred de Musset, who best exemplifies romantic melancholy.[citation needed] All three also wrote novels and short stories, and Musset won a belated success with his plays.[citation needed] Alexandre Dumas, père wrote The Three Musketeers and other romantic novels in an historical setting. Prosper Mérimée and Charles Nodier were masters of shorter fiction. Charles Augustin Sainte-Beuve, a literary critic, showed romantic expansiveness in his hospitality to all ideas and in his unfailing endeavour to understand and interpret authors rather than to judge them.(I'll make some blanks for the name of the writers, please fill the blanks with suitable names***)
Romanticism in France defied political affiliation: one finds both "liberal" (like Stendhal), "conservative" (like Chateaubriand) and socialist (George Sand) strains
Prosper Mérimée (28 September 1803 – 23 September 1870) was a French dramatist, historian, archaeologist, and short story writer. He is perhaps best known for his novella Carmen, which became the basis of Bizet's opera Carmen. (I'll make some blanks for the name of the writers, please fill the blanks with suitable names***)
However, she told him she loved him less than before, and she became attracted to a successful young picador named Lucas. José, mad with jealousy, begged her to forsake other men and live with him; they could start an honest life in America. She said that she knew from omens that he was fated to kill her, but "Carmen will always be free,"[3] and as she now hated herself for having loved him, she would never give in to him. He stabbed her to death and then turned himself in. (names of the writer, and title of the novel or the background for example the city the protagonists lived ***)
(Bullfighting ***) (also known as tauromachy, from ταυρομάχη – tavromache, "bull-fight"; or as corrida de toros in Spanish) is a traditional spectacle of Spain, Portugal, southern France and several Latin American countries, in which one or more bulls are ritually killed in a bullring as a public spectacle. It is often called a blood sport by its detractors but followers of the spectacle regard it as a fine art and not a sport as there are no elements of competition in the proceedings. In Portugal it is illegal to kill a bull in the arena, so it is removed and slaughtered in the pens as fighting bulls can only be used once. A nonlethal variant stemming from Portuguese influence is also practiced on the Tanzanian island of Pemba.[1]
The tradition, as it is practiced today, involves professional toreros (toureiros in Portuguese; sometimes wrongly called toreadors in English, which is a word made up by (George Bizet ***) for his opera Carmen), who execute various formal moves which can be interpreted and innovated according to the bullfighter's style or school, toreros seek to elicit inspiration and art from their work and an emotional connection with the crowd transmitted through the bull . Such maneuvers are performed at close range, which places the bullfighter at risk of being gored or trampled. The bullfight usually concludes with the killing of the bull by a single sword thrust which is called estocada. In Portugal the finale consists of a tradition called the pega, where men (forcados) try to grab and hold the bull by its horns when it runs at them.
Occurring from September 1826 until July 1831, Le Rouge et le Noir is the Bildungsroman of Julien Sorel, the intelligent, ambitious, protagonist from a poor family, [1] who fails to understand much about the ways of the world he sets to conquer. He harbours many romantic illusions, becoming mostly a pawn in the political machinations of the ruthless influential people about him. The adventures of the flawed hero satirize French nineteenth-century society, especially the hypocrisy and materialism of the aristocracy and members of the Roman Catholic Church in foretelling the coming radical changes that will depose them from French society.(2문제 ***)
For his talent as much as his excesses, Chateaubriand may be considered the father of French Romanticism. His descriptions of Nature and his analysis of emotion made him the model for a generation of Romantic writers, not only in France but also abroad. For example, Lord Byron was deeply impressed by René. The young Victor Hugo scribbled in a notebook, "To be Chateaubriand or nothing." Even his enemies found it hard to avoid his influence. Stendhal, who despised him for political reasons, made use of his psychological analyses in his own book, De l'amour.(2문제 ***)
Realism
The expression_(society***). The growth of realism is linked to the development of science (especially biology ***), history and the social sciences and to the growth of industrialism and commerce.[citation needed] The "realist" tendency is not necessarily anti-romantic; romanticism in France often affirmed the common man and the natural setting, as in the peasant stories of George Sand, and concerned itself with historical forces and periods, as in the work of historian Jules Michelet.[citation needed]
The novels of Stendhal, including The Red and the Black and The Charterhouse of Parma, address issues of their contemporary society while also using themes and characters derived from the romantic movement. Honoré de Balzac is the most prominent representative of 19th century realism in fiction. His La Comédie humaine, a vast collection of nearly 100 novels, was the most ambitious scheme ever devised by a writer of fiction—nothing less than a complete contemporary history of his countrymen.[citation needed] Realism also appears in the works of Alexandre Dumas, fils.[citation needed](작가들 이름 ***)
Many of the novels in this period, including Balzac's, were published in newspapers in serial form, and the immensely popular realist "roman feuilleton" tended to specialize in portraying the hidden side of urban life (crime, police spies, criminal slang), as in the novels of (Eugène Sue ***).[citation needed] Similar tendencies appeared in the theatrical melodramas of the period and, in an even more lurid and gruesome light, in the Grand Guignol at the end of the century.[citation needed]
Gustave Flaubert's great novels Madame Bovary (1857) -- which reveals the tragic consequences of romanticism on the wife of a provincial doctor—and Sentimental Education represent perhaps the highest stages in the development of French realism, while Flaubert's romanticism is apparent in his fantastic The Temptation of Saint Anthony and the baroque and exotic scenes of ancient Carthage in Salammbô.[citation needed](작가와 설명 숙지***) 해석
In addition to melodramas, popular and bourgeois theater in the mid-century turned to realism in the "well-made" bourgeois farces of Eugène Marin Labiche and the moral dramas of Émile Augier. Also popular were the chansons réalistes (realist songs) performed by singers such as Édith Piaf and Fréhel, the operettas, farces and comedies of Ludovic Halévy, Henri Meilhac, and, at the turn of the century, Georges Feydeau.[citation needed]
Hippolyte Adolphe Taine (21 April 1828 in Vouziers, Ardennes – 5 March 1893 in Paris) was a French critic and historian. He was the chief theoretical influence of French naturalism, a major proponent of sociological positivism, and one of the first practitioners of historicist criticism. Literary historicism as a critical movement has been said to originate with him.[1] Taine is particularly remembered for his three-pronged approach to the contextual study of a work of art, based on the aspects of what he called race, milieu, and moment.
Taine had a profound effect on French literature; the 1911 Encyclopædia Britannica asserted that "the tone which pervades the works of Zola, Bourget and Maupassant can be immediately attributed to the influence we call Taine's."
French literature is, generally speaking, literature written in the French language, particularly by citizens of France; it may also refer to literature written by people living in France who speak traditional languages of France other than French. Literature written by citizens of other nations such as Belgium, Switzerland, Canada, Senegal, Algeria, Morocco, etc. is referred to as Francophone literature. As of 2006, French writers have been awarded more Nobel Prizes in Literature than novelists, poets and essayists of any other country. France itself ranks first in the list of Nobel Prizes in literature by country.
(French literature is written
1. by
2.
3.
4.
Please chosse the wrong answer)
French literature of the 19th century refers to literature works written before and after that time. Many of the developments in French literature in this period parallel changes in the visual arts.
In the last half of the century, "naturalism", "parnassian" poetry, and "symbolism", among other styles, were often competing tendencies at the same time. Some writers did form into literary groups defined by a name and a program or manifesto. In other cases, these expression_(I'll show you four ways the expression_(The names of two writers of romanticism)
French romanticism used forms such as the historical novel, the romance, the ("roman noir" ***) or Gothic novel; subjects like traditional myths (including the myth of the romantic hero), nationalism, the natural world (i.e. elegies by lakes), and the common man; and the styles of lyricism, sentimentalism, exoticism and orientalism.[citation needed] Foreign influences played a big part in this, especially those of Shakespeare, Sir Walter Scott, Byron, Goethe, and Friedrich Schiller.[citation needed] French Romanticism had ideals diametrically opposed to French (classicism***) and the classical unities, but it could also express a profound loss for aspects of the pre-revolutionary world in a society now dominated by money and fame, rather than honor.[citation needed]
In France, (Hugo ***)'s literary fame comes first from his poetry but also rests upon his novels and his dramatic achievements. Among many volumes of poetry, Les Contemplations and La Légende des siècles stand particularly high in critical esteem, and Hugo is sometimes identified as the greatest French poet. Outside France, his best-known works are the novels Les Misérables and Notre-Dame de Paris (known in English also as The Hunchback of Notre-Dame).
(Gérard de Nerval ***) (French pronunciation: [ʒeʁaʁ də nɛʁval]; May 22, 1808 – January 26, 1855) was the nom-de-plume of the French poet, essayist and translator Gérard Labrunie, one of the most essentially Romantic French poets.
His talent for translation was made manifest in his translation of Goethe's Faust (1828), the work which earned him his reputation.
(Gérard de Nerval ***) Increasingly poverty-stricken and disoriented, he finally committed suicide during 1855, hanging himself from a window grating. He left only a brief note to his aunt: "Do not wait up for me this evening, for the night will be black and white."[1] He was interred in the Père Lachaise Cemetery in Paris.
Romanticism was a complex artistic, literary, and intellectual movement that originated in the second half of the 18th century in (Europe ***), and gained strength in reaction to the Industrial Revolution.[1] In part, it was a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalisation of nature,[2] and was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography,[3] education[4] and natural history.[5]
Key ideas from early French Romanticism:
"La vague des passions" (waves of sentiment and passion) - Chateaubriand maintained that while the imagination was rich, the world was cold and empty, and rationalism and civilization had only robbed men of their illusions; nevertheless, a notion of sentiment and passion continued to haunt men.[citation needed]
"Le mal du siècle" (the pain of the century) - a sense of loss, disillusion, and aporia, typified by melancholy and lassitude.(2 questions ***)
The movement validated strong emotion as an authentic source of aesthetic experience, placing new emphasis on such emotions as (trepidation, horror and terror and awe *** one another answer wrong)—especially that which is experienced in confronting the sublimity of untamed nature and its picturesque qualities, both new aesthetic categories. It elevated folk art and ancient custom to something noble, made of spontaneity a desirable character (as in the musical impromptu), and argued for a "natural" epistemology of human activities as conditioned by nature in the form of language and customary usage.
Romanticism reached beyond the rational and Classicist ideal models to elevate a revived medievalism and elements of art and narrative perceived to be authentically medieval, in an attempt to escape the confines of population growth, urban sprawl, and industrialism, and it also attempted to embrace the (exotic, unfamiliar, and distant *** the same as above) in modes more authentic than Rococo chinoiserie, harnessing the power of the imagination to envision and to escape.
Although the movement was rooted in the German Sturm und Drang movement, which prized intuition and emotion over Enlightenment rationalism, the ideologies and events of the French Revolution laid the background from which both Romanticism and the Counter-Enlightenment emerged. The confines of the Industrial Revolution also had their influence on Romanticism, which was in part an escape from modern realities; indeed, in the second half of the 19th century, "Realism" was offered as a polarized opposite to Romanticism.[6] Romanticism elevated the achievements of what it perceived as heroic individualists and artists, whose pioneering examples would elevate society. It also legitimized the individual imagination as a critical authority, which permitted freedom from classical notions of form in art. There was a strong recourse to historical and natural inevitability, a zeitgeist, in the representation of its ideas.
Romanticism in England and Germany largely predate French romanticism, although one finds a kind of "pre-romanticism" in the works of Senancour and Jean-Jacques Rousseau (among others) at the end of the 18th century.[citation needed] French Romanticism took definite form in the works of François-René de Chateaubriand and Benjamin Constant and in Madame de Staël's interpretation of Germany as the land of romantic ideals.[citation needed] It found early expression_(I'll give you some explanations about the romanticism, which one is not correct.***)
Adolphe, the narrator, is the son of a government minister. Introverted from an early age, his melancholy outlook has been formed by conversations with an elderly friend, whose insight into the folly and hypocrisy of the world has hindered rather than helped her in life. When the novel opens, he is 22 years old and has just completed his studies at the University of Göttingen. He travels to the town of D*** in Germany, where he becomes attached to the court of an enlightened Prince. During his stay he gains a reputation for an unpleasant wit. A friend's project of seduction inspires him to try something similar with the 32-year-old lover of the Comte de P***, a beautiful Polish refugee named Ellénore. The seduction is successful, but they both fall in love, and their relationship becomes all-consuming, isolating them from the people around them.
Eventually Adolphe becomes anxious as he realises that he is sacrificing any potential future for the sake of Ellénore. She persuades him to extend his stay by six months, but they quarrel, and when she breaks with the Comte de P*** and leaves her two children in order to be with him, and tends him after he is injured in a duel, he finds himself hopelessly indebted to her.
When he leaves the town of D***, Ellénore follows him, only to be expelled from his home town by Adolphe's father. Adolphe is furious and together they travel to her newly-regained estate in Poland. However, a friend of the father, the Baron de T***, manipulates Adolphe into promising to break with Ellénore for the sake of his career. The letter which contains the promise is forwarded to Ellénore and the shock leads to her death. Adolphe loses interest in life, and the alienation with which the book began returns in a more serious form.(some questions ***)
Victor Hugo was the outstanding genius of the Romantic School and its recognized leader.[citation needed] He was prolific alike in poetry, drama, and fiction. Other writers associated with the movement were the austere and pessimistic Alfred de Vigny, Théophile Gautier a devotee of beauty and creator of the "Art for art's sake" movement, and Alfred de Musset, who best exemplifies romantic melancholy.[citation needed] All three also wrote novels and short stories, and Musset won a belated success with his plays.[citation needed] Alexandre Dumas, père wrote The Three Musketeers and other romantic novels in an historical setting. Prosper Mérimée and Charles Nodier were masters of shorter fiction. Charles Augustin Sainte-Beuve, a literary critic, showed romantic expansiveness in his hospitality to all ideas and in his unfailing endeavour to understand and interpret authors rather than to judge them.(I'll make some blanks for the name of the writers, please fill the blanks with suitable names***)
Romanticism in France defied political affiliation: one finds both "liberal" (like Stendhal), "conservative" (like Chateaubriand) and socialist (George Sand) strains
Prosper Mérimée (28 September 1803 – 23 September 1870) was a French dramatist, historian, archaeologist, and short story writer. He is perhaps best known for his novella Carmen, which became the basis of Bizet's opera Carmen. (I'll make some blanks for the name of the writers, please fill the blanks with suitable names***)
However, she told him she loved him less than before, and she became attracted to a successful young picador named Lucas. José, mad with jealousy, begged her to forsake other men and live with him; they could start an honest life in America. She said that she knew from omens that he was fated to kill her, but "Carmen will always be free,"[3] and as she now hated herself for having loved him, she would never give in to him. He stabbed her to death and then turned himself in. (names of the writer, and title of the novel or the background for example the city the protagonists lived ***)
(Bullfighting ***) (also known as tauromachy, from ταυρομάχη – tavromache, "bull-fight"; or as corrida de toros in Spanish) is a traditional spectacle of Spain, Portugal, southern France and several Latin American countries, in which one or more bulls are ritually killed in a bullring as a public spectacle. It is often called a blood sport by its detractors but followers of the spectacle regard it as a fine art and not a sport as there are no elements of competition in the proceedings. In Portugal it is illegal to kill a bull in the arena, so it is removed and slaughtered in the pens as fighting bulls can only be used once. A nonlethal variant stemming from Portuguese influence is also practiced on the Tanzanian island of Pemba.[1]
The tradition, as it is practiced today, involves professional toreros (toureiros in Portuguese; sometimes wrongly called toreadors in English, which is a word made up by (George Bizet ***) for his opera Carmen), who execute various formal moves which can be interpreted and innovated according to the bullfighter's style or school, toreros seek to elicit inspiration and art from their work and an emotional connection with the crowd transmitted through the bull . Such maneuvers are performed at close range, which places the bullfighter at risk of being gored or trampled. The bullfight usually concludes with the killing of the bull by a single sword thrust which is called estocada. In Portugal the finale consists of a tradition called the pega, where men (forcados) try to grab and hold the bull by its horns when it runs at them.
Occurring from September 1826 until July 1831, Le Rouge et le Noir is the Bildungsroman of Julien Sorel, the intelligent, ambitious, protagonist from a poor family, [1] who fails to understand much about the ways of the world he sets to conquer. He harbours many romantic illusions, becoming mostly a pawn in the political machinations of the ruthless influential people about him. The adventures of the flawed hero satirize French nineteenth-century society, especially the hypocrisy and materialism of the aristocracy and members of the Roman Catholic Church in foretelling the coming radical changes that will depose them from French society.(2문제 ***)
For his talent as much as his excesses, Chateaubriand may be considered the father of French Romanticism. His descriptions of Nature and his analysis of emotion made him the model for a generation of Romantic writers, not only in France but also abroad. For example, Lord Byron was deeply impressed by René. The young Victor Hugo scribbled in a notebook, "To be Chateaubriand or nothing." Even his enemies found it hard to avoid his influence. Stendhal, who despised him for political reasons, made use of his psychological analyses in his own book, De l'amour.(2문제 ***)
Realism
The expression_(society***). The growth of realism is linked to the development of science (especially biology ***), history and the social sciences and to the growth of industrialism and commerce.[citation needed] The "realist" tendency is not necessarily anti-romantic; romanticism in France often affirmed the common man and the natural setting, as in the peasant stories of George Sand, and concerned itself with historical forces and periods, as in the work of historian Jules Michelet.[citation needed]
The novels of Stendhal, including The Red and the Black and The Charterhouse of Parma, address issues of their contemporary society while also using themes and characters derived from the romantic movement. Honoré de Balzac is the most prominent representative of 19th century realism in fiction. His La Comédie humaine, a vast collection of nearly 100 novels, was the most ambitious scheme ever devised by a writer of fiction—nothing less than a complete contemporary history of his countrymen.[citation needed] Realism also appears in the works of Alexandre Dumas, fils.[citation needed](작가들 이름 ***)
Many of the novels in this period, including Balzac's, were published in newspapers in serial form, and the immensely popular realist "roman feuilleton" tended to specialize in portraying the hidden side of urban life (crime, police spies, criminal slang), as in the novels of (Eugène Sue ***).[citation needed] Similar tendencies appeared in the theatrical melodramas of the period and, in an even more lurid and gruesome light, in the Grand Guignol at the end of the century.[citation needed]
Gustave Flaubert's great novels Madame Bovary (1857) -- which reveals the tragic consequences of romanticism on the wife of a provincial doctor—and Sentimental Education represent perhaps the highest stages in the development of French realism, while Flaubert's romanticism is apparent in his fantastic The Temptation of Saint Anthony and the baroque and exotic scenes of ancient Carthage in Salammbô.[citation needed](작가와 설명 숙지***) 해석
In addition to melodramas, popular and bourgeois theater in the mid-century turned to realism in the "well-made" bourgeois farces of Eugène Marin Labiche and the moral dramas of Émile Augier. Also popular were the chansons réalistes (realist songs) performed by singers such as Édith Piaf and Fréhel, the operettas, farces and comedies of Ludovic Halévy, Henri Meilhac, and, at the turn of the century, Georges Feydeau.[citation needed]
Hippolyte Adolphe Taine (21 April 1828 in Vouziers, Ardennes – 5 March 1893 in Paris) was a French critic and historian. He was the chief theoretical influence of French naturalism, a major proponent of sociological positivism, and one of the first practitioners of historicist criticism. Literary historicism as a critical movement has been said to originate with him.[1] Taine is particularly remembered for his three-pronged approach to the contextual study of a work of art, based on the aspects of what he called race, milieu, and moment.
Taine had a profound effect on French literature; the 1911 Encyclopædia Britannica asserted that "the tone which pervades the works of Zola, Bourget and Maupassant can be immediately attributed to the influence we call Taine's."
#일본어 해석좀 해주세요
