Le Realisme, Le Naturalisme, et Le Romantisme
Les oeuvres litteraires et artistiques de la premiere moitie du XIX -eme siecle offrend un ensemble de points communs permettant de definir le courant culturel qu'on appelle le Romantisme.
Il se caracterise par l'importance accordee aux passions et par la volonte d'echapper, en l'exprimant, au "mal du siecle".
Illustres par la litterature et la peinture, les caracteres romantique s'incarnent dans un nouveau modele de heros. Les heros romantique est un etre qui a conscencience d'etre le trop tard dans un monde trop vieux: epris d'absolu et de liberte, il alle sentiment de ne pas etre maitre de son destin. Le monde positifiste laisse peu de place a l'enthousiasme et au reve.
Les grands themes lyriques: l'amour, la mort, la vie, l'enfance et la memoire, le sentiment du temps qui passe, la conscince d'une condition humaine ephemere et l'admiration pour la nature.
Les grands ecrivains romantiques sont:
· Hugo, Victor -- "Les Miserables"
· Stendhal (Henry Beyle) -- "Rouge et Noir"
· Balzac, Honore -- "La comedie humaine"
· Dumas, Alexandre -- "Les troi mousquetaires"
Le Realisme
Forme sur le mot "reel", le Realisme nait avant 1850 et se developpe apres cette date il se caracterise par la volonte de certains peintres et romanciers de represente la realite sans la modifier
Le Realisme puise ses themes dans l'observaton du monde contempotaine,social et historiqoe:il s'interesse aux chosses,aux gens et aux situations,qui n'etaient pas jusque-la consideres comme artistique.
La creation picturale et litteraire se tourne aussi vers ceux quivivent dans ces cadres mediocres: ouvriers, artisans, prostituees, marginaux, representes dans les aspects souvent les plus sordides de leur existence.
Les grandes ecrivains realistes sont:
· Flaubert, Gustave -- "Madame Bovary"
· Balzac, Honore -- " Le pere Goriot"
Orr, David Gerald. ""Roman Domestic Religion: The Archaeology of Roman Popular Art"." .Bowling Green, Ohio: Bowling Green University Popular Press (1980): pp. 88–103. Western New England University Academic Journal. Pdf.
3)Dionysius, Earnest Cary, and Edward Spelman. The Roman Antiquities. Cambridge, Mass: Harvard UP, 1937. Print.
The third and most important way that Roman culture and ideals were spread throughout western civilization is through mere contact. Whether this is through physical influence, or the study of Roman relics, Rome's ideas spread like wild fire. An importan...
Taking place during the period of the Age of Reason and the French revolution, Neo-classicism consisted of artists who valued the old Greek and Roman culture. Straying away from the former Rocco period, the artists of Neo-classicism thought of themselves as new Greeks and Romans. As they admired the simple forms of Greek and Roman antiquity, the Neo-classicists noticed the ancient golden age where order, justice and morality prevailed (Koster 78). Clean lines, perfect contours, virtue and heroism were reflected during the remarkable Neo-classicism period. While demonstrating that frothy art was unnecessary, Neo-classicist artists celebrated history and civic pride (Hodge 73). Because they copied the works of the Greek and Romans, the artists of this period profoundly believed in science, nature and logical thought, they painted scenes from history and mythology with the hero always at the center of the action (Raczka 9). One of the major artists of the Neo-Classicism period was Jacques- Louis David. As he believed in liberty, equality and fraternity David often looked back at the moral values of the Greek and Romans. During the time of the Neo-classicism period artists flouri...
As the first poem in the book it sums up the primary focus of the works in its exploration of loss, grieving, and recovery. The questions posed about the nature of God become recurring themes in the following sections, especially One and Four. The symbolism includes the image of earthly possessions sprawled out like gangly dolls, a reference possibly meant to bring about a sense of nostalgia which this poem does quite well. The final lines cement the message that this is about loss and life, the idea that once something is lost, it can no longer belong to anyone anymore brings a sense...
Heichelheim, Fritz, Cedric A. Yeo, and Allen M. Ward. A History Of The Roman People. New Jersey: Prentice-Hall Inc., 1984.
It is very related to the funeral world, since they have appeared inside the graves, decorating them. Between the most usual topics they emphasize the scenes of funeral banquets and situations of the everyday life that were serving to surround the dead person of everything what it had had. The most used skill(technology) is the fresh air(fresco); the colors are flat and living; the funds are smooth and on them there stand out the figures, in which it predominates over the drawing; there appears the vegetation, birds, etc.; perspective does not exist, it is a question of a two-dimensional painting; one looks for the movement, although often it is represented in a very conventional way (J. Manzaneque,3/2/14).
When people deal with a death, they grieve by crying or showing some type of sad emotion. But in the novel, the main character, Meursault does not show any emotion to his mother’s death. Meursault was not moral but he was not immoral either. It is because he lacks any emotional feelings. He is detached from the world and he is seen by society as an outcast because of the way he acts. Meursault’s personality can be described as dull and very boring. Meursault lives an average life, but one important factor in the story is that he does not seem to express his emotions. Some of his character traits could label Meursault as an existentialist because he does not care about anything except physical things. When his mother died many other people were crying but all Meursault worried about was the heat. He is very honest as well and he does not try to cover up the fact tha...
The purpose of this essay is to intricately elaborate on the culture of the Romans, along with its similarities and discrepancies, or uniqueness, in relation to Ancient Greek culture. This is achieved by providing background to both Roman and Greek culture, analyzing how Rome technically purloined Greek culture, describing how unique Roman culture is, and explaining its long lasting impact on today's society.
Beginning in the late 19th century, two separate movements spread across America know as realism and naturalism. While the two were very similar in their beliefs and ideals there were still many apparent distinctions to differentiate the two. Realism and naturalism showed themselves in many aspects of life, from art and sciences to new math techniques and even religion. However, above all else these movements may have been most evident in the literature of this time. Reading through American literature of the late 19th and early 20th centuries, it becomes perceptible which short stories portray realism and which represent nationalism.
In the book “Ways of Seeing,” John Berger explains several essential aspects of art through influence of the Marxism and art history that relates to social history and the sense of sight. Berger examines the dominance of ideologies in the history of traditional art and reflects on the history, class, and ideology as a field of cultural discourse, cultural consumption and cultural practice. Berger argues, “Realism is a powerful link to ownership and money through the dominance of power.”(p.90)[1] The aesthetics of art and present historical methodology lack focus in comparison to the pictorial essay. In chapter six of the book, the pictorial imagery demonstrates a variety of art forms connoting its realism and diversity of the power of connecting to wealth in contradiction to the deprived in the western culture. The images used in this chapter relate to one another and state in the analogy the connection of realism that is depicted in social statues, landscapes, and portraiture, also present in the state of medium that was used to create this work of art.
The theme of death in the poems “War Photographer”, “Remember”, and “Mother in a Refugee Camp” were all portrayed in different forms to explore death and the suffering it brings. The variations of death in the three poems create a diverse image of death, which some people can relate to through the different situations of loss. “Remember” by Christina Rossetti fashions an image of death because the speaker wanted her husband to remember all the memories they had shared during her life. Rossetti found it necessary to portray death as a spiritual place rather than a physical state of decomposition so that she can finally escape to a place of silence to avoid all the darkness in her life. “War Photographer” by Carol Ann Duffy is about a man who takes photographs of death in vivid, dark and disturbing images of conflict, which Duffy conveys thoroughly throughout the poem to powerfully showcase his grief and disheartening on the situation. “A Mother in a Refugee camp” by Chinua Achebe, displays the struggles of a mother desperately trying to support and save her child while writhing in her caressing arms at death’s doors. These are the poems that represent the theme of death.
The aim of this report is to discuss Italian Neorealism (Neorealismo); looking at how the movement played a significant element in European cinema during and after the times of Benito Mussolini’s fascist regime. The report not only looks at how but why Neorealism became a growing phenomenon for filmmakers during its debatable 10 year period, and what implication of messages these Neorealist directors were trying to send out through their films. Backed up by several reliable book sources, the evidence for this report will also highlight the influences Neo-realism has created in modern filmmaking today.
In Music and Art As intellectual and artistic movements 19th-Century Realism and Naturalism are both responses to Romanticism but are not really comparable to it in scope or influence. For one thing, "realism" is not a term strictly applicable to music. There are verismo (realistic) operas like Umberto Giordano's Andrea Chénier created in the last decade of the 19th century in Italy, but it is their plots rather than their music which can be said to participate in the movement toward realism. Since "pure" untexted music is not usually representational (with the controversial exception of "program" music), it cannot be said to be more or less realistic. In contrast, art may be said to have had many realistic aspects before this time. The still lifes and domestic art of Jean-Baptiste-Siméon Chardin1 (1699-1779) anticipate many of the concerns of the 19th-Century Realists, and he in turn owes a debt to the Netherland school of still-life painting of the century before him, and one can find similar detailed renderings of everyday objects even on the walls of 1st-century Pompeii. Realism is a recurrent theme in art which becomes a coherent movement only after 1850; and even then it struggles against the overwhelming popularity of Romanticism. In mid-19th century France, Gustave Courbet2 set forth a program of realistic painting as a self-conscious alternative to the dominant Romantic style, building on earlier work by the painters of the Barbizon School (of which the most famous member was Jean-François Millet), which had attempted to reproduce landscapes and village life as directly and accurately as possible.
In the poem “A song of Despair” Pablo Neruda chronicles the reminiscence of a love between two characters, with the perspective of the speaker being shown in which the changes in their relationship from once fruitful to a now broken and finished past was shown. From this Neruda attempts to showcase the significance of contrasting imagery to demonstrate the Speaker’s various emotions felt throughout experience. This contrasting imagery specifically develops the reader’s understanding of abandonment, sadness, change, and memory. The significant features Neruda uses to accomplish this include: similes, nautical imagery, floral imagery, and apostrophe.