加拿大论文代写 黄色封面

Keywords:加拿大论文代写 黄色封面

的确，法国小说通过象征性的黄色封面强化了其公认的不道德，摒弃了传统的“风俗道德”，代之以现实主义的表现。随着这种文学的发展，尤其是关于女性违反基督教婚姻准则的叙述(包法利夫人预见了左拉1868年的特蕾莎·拉奎因)，女主人公已经过时了18世纪的特征。现实主义者，如福楼拜，将婚姻视为女性受压迫的根源和新女性崛起的动力。正如乔治·贝克尔所观察到的那样:“随着人类行为和经验的整体……被越来越精确地审视和描绘，现实主义作家难免会对人类和(社会)做出一些与传统观点截然相反的陈述。”即使启蒙运动提倡个人权利，婚姻也把妇女当作财产。因此，福楼贝笔下的包法利夫人虽然被判无罪，却被指控废除婚姻准则，挑战19世纪的传统道德价值观。同样，19世纪的戏剧挑战了当代社会公认的道德信条。从历史上看，在整个19世纪80年代的斯堪的纳维亚，易卜生的戏剧在道德层面上震撼了观众，甚至在上流社会讨论这些戏剧也违反了社会礼仪。易卜生早期的戏剧极具争议性，他被迫离开挪威前往德国。1880年，女演员海德薇·尼曼·拉比拒绝出演玩偶之家的最后一幕，因为她强烈反对易卜生的女主角遗弃孩子。此外，1891年易卜生的《赫达·加布勒》在伦敦演出时，克莱门特·斯科特批评女演员伊丽莎白·罗宾斯接受了这个角色，说她美化了犯罪，使一个不道德的女人变得高尚。
加拿大论文代写 黄色封面
Indeed, the French novel, its accepted immorality reinforced through symbolic yellow covers, dismissed traditional ‘moeurs’(established manners and morals) in favour of realistic representation. As this literature evolved, especially with narratives of women violating the Christian codes of marriage (Madame Bovary anticipated Zola’s 1868 Thérèse Raquin), the heroine had outdated its eighteenth-century characterisation. Realists, like Flaubert, presented marriage as the source of female oppression and the incentive for the rise of the New Woman. As George Becker observes, ‘as the whole of human behaviour and experience…was examined and portrayed with increasing exactness, realistic writers could not escape making statements about man and (society)…which were in violent opposition to those traditionally accepted’.[3] Even with Enlightenment promotion of individual rights, marriage held women as property. Thus, Flaubert’s Madame Bovary, although acquitted, was accused of abrogating the codes of marriage and challenging traditional nineteenth-century moral values.Similarly, nineteenth-century dramas challenged the accepted moral doctrine of contemporary society. Historically, in Scandinavia throughout the 1880s, Ibsen’s plays so shocked their audience on moral grounds that even to discuss them in polite society was a violation of social propriety. Ibsen’s early plays were so controversial that he was forced to leave Norway for Germany, and in 1880 actress Hedwig Niemann-Raabe refused to act the last scene of A Doll’s House after having critically objected to Ibsen’s female lead abandoning her children. Additionally, when Ibsen’s Hedda Gabler was performed in London in 1891, Ibsen-phobiac (a term used by William Archer) Clement Scott criticised actress Elizabeth Robins for having accepted the part, noting that she had glorified crime and ennobled an immoral woman.