浪漫主义美学范文1
关键词：美国文学 浪漫主义 超验主义 现实主义 现代主义
摘要：浪漫主义时期是美国文学史上最重要的时期之一。当美国人在大刀阔斧地建设自己的国家时，也开始逐渐意识到逐渐与欧洲的不同。随着不断增强的民族主义意识及民族自豪感，美国人开始希望见到自己的不同与欧洲模式，能表达他们字的美国风情的文学。这个时代伟大的作家充满热情地记录下这个伟大时代的乐观主义精神。随后美国文学进入了超验主义时代。超验主义十分强调个人主义、自立、拒绝传统权威思想。它实际上是对浪漫主义的发展。
然后，美国的国家自信心受到了内战的动摇。内战过后，美国处在迷茫中。在1900年前后这段时期的文学由于美国国内环境的变化而由浪漫主义和超验主义乐观精神转向对社会和人类本质更直接的探讨。从某种角度，现实主义反对浪漫主义的理想主义和怀旧情绪。它主要关注中下层人民的日常生活，而在这种情况下人物性格是社会因素作用的结果，环境是整个事件发展不可分割的部分。
1910年至1930年间被称为现代主义时期。一战后，美国进入了高度繁荣的十年，商业的繁荣程度超过了许多人的想象。20世纪初期，现代机器改变了人们日常生活的节奏、环境和面貌。大批的艺术家和作家获得了不同程度的成功，开始改造传统的艺术形式，试图从中发现新的元素—人们进入机械时代之后所产生的美学共鸣。在这个时期，很多艺术家和文学运动在很大程度上与19世纪的风格、形式及内容迥异。现代的心理学对20世纪早期的文学产生了深刻的影响，大多数优秀的现代主义作家对人类心理学表现出浓厚兴趣。
Abstract
Romantic Period is one of the most important periods in the history of American literature. When Americans were constructing their country, they also began to realize their differences from their European counterparts. They began to hope to see an entirely different literature model which expressed American cultures. Great writers of that period captured on their pages the enthusiasm and the optimism of that dream. Later，American literature came to Transcendentalism Period which emphasized individualism, self-reliance, and rejection of tradition authority. It was actually greatly influenced by romanticism.
However, the country’s confidence was waved by the Civil War. After the war, Americans got lost. At about 1900s, American literature came to another entirely different age—the age of Realism. Realists searched for the social and human nature more directly. In part, Realism was a reaction against the Romantic emphasis on the strange, idealistic, and long-ago and far-away. It has been chiefly concerned with the commonplaces of everyday life among the middle and lower classes where character is a product of social factors and environment is the integral element in the dramatic complications.
The period between 1910 and 1930 is referred to as the era of Modernism. As modern machinery had changed the pace, atmosphere, and appearance of daily life in the early 20th century, so many artists and writers, with varying degrees of success, reinvented traditional artistic forms and tried to find radically new ones—an aesthetic echo of what people had come to call “the machine age.” During that period, a large number of artists and literary movements are totally different from those of the 19th-century’s, in style, form and content. Modern psychology has a profound impact on the early 20th-century’s literature.
Key words: American literature; Romanticism; New England Transcendentalism; Realism; Modernism
1. American Romanticism
Romanticism refers to an artistic and intellectual movement originating in Europe in the late 18th century and characterized by a heightened interest in nature, emphasis on the individual’s experience of emotion and imagination, departure from the attitudes and forms of classicism, and rebellion against established social rules and conventions. The romantic period of American literature stretches from the end of the 18th century to the outbreak of the Civil War. It was an age of westward expansion, of the increasing gravity of the slavery question, of an intensification of the spirit of embattled sectionalism in the South, and of a powerful impulse to reform in the North. In literature it was America’s first great creative period, a full flowering of the romantic impulse on American soil.
1.1 The unique characteristics of American Romanticism
Although greatly influenced by their English counterparts, the American romantic writers revealed unique characteristics of their own in their works and they grew on the native lands. For examp1e，(1) the American national experience of "pioneering into the west" proved to be a rich source of material for American writers to draw upon. They celebrated America's landscape with its virgin forests, meadows, groves, endless prairies, streams, and vast oceans. The wilderness came to function almost as a dramatic character that symbolized moral 1aw. (2) The desire for an escape from society and a return to nature became a permanent convention of American literature. Such a desire is particularly evident in Cooper’s Leather Stocking Tales, in Thoreau's Walden and， later, in Mark Twain’s Adventures of Huckleberry Finn. (3) With the growth of American national consciousness, American character types speaking local dialects appeared in poetry and fiction with increasing frequency. (4)Then the American Puritanism as a cultural heritage exerted great influences over American moral values and American Romanticism. One of the manifestations is the fact that American romantic writers tended more to moralize than their English and European counterparts. (5) Besides, a preoccupation with the Calvinistic view of origina1 sin and the mystery of evil marked the works of Hawthorne, Melville and a host of lesser writers.
1.2 Representative writers and their works
Washington Irving(1783-1859) was the first American storyteller to be internationally recognized as a man of letters and the first great prose stylist of American romanticism, and his familiar style was destined to provide a model for the prevailing prose narrative of the future. His first book A History of New York from the Beginning of the World to the End of the Dutch Dynasty (1809), written under the name of Diedrich Knickerbocker, was a great success and won him wide popularity. He is best known for his The Sketch Book of Geoffrey Crayon, Gent (1819-1820), especially in which two short stories Rip Van Winkle and The Legend of Sleepy Hollow have become American classics. Later he wrote works of history and biographies, such as The History of Life and Voyages of Christobra Columbus (1828), A Chronicle of the Conquest of Granada and The Alhambra (1832). After that, he spent the rest of his life living a life of leisure and comfort, and writing The Life of Goldsmith (1840) and a five-volume Life of Washington (1855-1859). He died in 1859.
James Fenimore Cooper (1789-1851) is respectfully remembered as a master of adventurous narrative and as the creator of an American hero-myth. According to a charming legend, Cooper’s first novel Precaution (1820) was a response to his wife’s challenge to improve on the current British society fiction, and the failure of this work turned him to historical novels. Later, The Spy, a tale of the Revolution he wrote, became a great success in America and Europe. In 1823, Cooper published The Pioneers (1823), which together with other 4 novels The Deerslayer (1841), The Last of the Mohicans (1826), The Pathfinder (1840) and The Prairie (1827) became his well-known Leather-stocking Tales. Cooper went on to write over thirty novels, including exciting adventures of the sea like The Pilot. Cooper created the American historical novel using authentic American subject.
2. New England Transcendentalism
American Romanticism culminated around the 1840s in what has come to be known as “New England Transcendentalism” or “American Renaissance” (1836-1855).
2.1 Characteristics of New England Transcendentalism
The Transcendentalist movement, embodied by essayists Ralph Waldo Emerson and Henry David Thoreau, was a reaction against 18th century Rationalism, and closely linked to the Romantic Movement. It is closely associated with Concord, Massachusetts, a town near Boston, where Emerson, Thoreau, and a group of other writers lived.
In general, Transcendentalism was a liberal philosophy favoring nature over formal religious structure, individual insight over dogma, and humane instinct over social convention. American Transcendental Romantics pushed radical individualism to the extreme. American writers—then or later —often saw themselves as lonely explorers outside society and convention. The American hero—like Herman Melville’s Captain Ahab, or Mark Twain’s Huck Finn—typically faced risk, or even certain destruction, in the pursuit of metaphysical self-discovery. For the Romantic American writer, nothing was a given. Literary and social conventions, far from being helpful, were dangerous. There was tremendous pressure to discover an authentic literary form, content, and voice.
2.2 Representative writers and their works
Ralph Waldo Emerson, the towering figure of his era, had a religious sense of mission. Although many accused him of subverting Christianity, he explained that, for him “to be a good minister, it was necessary to leave the church.” The address he delivered in 1838 at his alma mater, the Harvard Divinity School, made him unwelcome at Harvard for 30 years. In it, Emerson accused the church of emphasizing dogma while stifling the spirit. Emerson is remarkably consistent in his call for the birth of American individualism inspired by nature. Much of his spiritual insight comes from his readings in Hinduism, Confucianism, and Islamic Sufism.
Henry David Thoreau was from a poor family, like Emerson, he worked his way through Harvard. Thoreau’s masterpiece, Walden, or Life in the Woods (1854), is the result of two years, two months, and two days (from 1845 to 1847) he spent living in a cabin he built at Walden Pond, near Concord. This long poetic essay challenges the reader to examine his or her life and live it authentically. Thoreau’s essay “Civil Disobedience,” with its theory of passive resistance based on the moral necessity for the just individual to disobey unjust laws, was an inspiration for Mahatma Gandhi’s Indian independence movement and Martin Luther King’s struggle for black Americans’ civil rights in the 20th century.
Walt Whitman was a part-time carpenter and man of the people, whose brilliant, innovative work expressed the country’s democratic spirit. His Leaves of Grass (1855), which he rewrote and revised throughout his life, contains “Song of Myself,” the most stunningly original poem ever written by an American.The poem’s innovative, unrhymed, free-verse form, open celebration of sexuality, vibrant democratic sensibility, and extreme Romantic assertion that the poet’s self was one with the universe and the reader, permanently altered the course of American poetry.
Emily Dickinson is, in a sense, a link between her era and the literary sensitivities of the 20th century. She never married, and she led an unconventional life that was outwardly uneventful but was full of inner intensity. She loved nature and found deep inspiration in the birds, animals, plants, and changing seasons of the New England countryside. Dickinson spent the latter part of her life as a recluse, due to an extremely sensitive psyche and possibly to make time for writing. Dickinson’s terse, frequently imagistic style is even more modern and innovative than Whitman’s. She sometimes shows a terrifying existential awareness. Her clean, clear, chiseled poems, rediscovered in the 1950s, are some of the most fascinating and challenging in American literature.
Nathaniel Hawthorne (born Nathaniel Hathorne; July 4, 1804 – May 19, 1864) was an American novelist and short story writer. Hawthorne is best known today for his many short stories (he called them "tales") and his four major romances written between 1850 and 1860: The Scarlet Letter (1850), The House of the Seven Gables (1851), The Blithedale Romance (1852) and The Marble Faun (1860). Another novel-length romance, Fanshawe was published anonymously in 1828. Hawthorne defined a romance as being radically different from a novel by not being concerned with the possible or probable course of ordinary experience. Many of his works are inspired by Puritan New England, combining historical romance loaded with symbolism and deep psychological themes, bordering on surrealism. Hawthorne's works belong to romanticism or, more specifically, dark romanticism, cautionary tales that suggest that guilt, sin, and evil are the most inherent natural qualities of humanity. His later writings would also reflect his negative view of the Transcendentalism movement.
Edgar Allan Poe (January 19, 1809 – October 7, 1849) was one of the most widely read and influential American writers. At the age of 18, he published his first book of poetry. In 1838 Poe published his only novel, The Narrative of Arthur Gordon. He died in 1849. During a short life of poverty, anxiety, and fantastic tragedy, Poe achieved the establishment of a new symbolic poetry; the formalization of the new short story and the slow development of an important critical theory. Poe is best known for his poems and horror stories. Among his works are the stories The Fall of the House of Usher, William Wilson, Ligeia and The Cask of Amontillado, and the poems The Raven, Annabel Lee, Sonnet—To Science, To Helen and Israfel.
The Civil War brought the Romantic Period to an end. The age of Realism came into existence.
3. The age of Realism
As a literary movement, realism came in the latter half of the nineteenth century as a reaction against “the lie” of romanticism and sentimentalism. It expressed the concern for the world of experience, of the commonplace, and for the familiar and low.
3.1 Literature Features in Realism Period
The American authors lumped together as “realists” seem to have some features in common: “verisimilitude of detail derived from observation,” the effort to approach the norm of experience—a reliance on the representative in plot, setting, and character, and to offer an objective rather than an idealized view of human nature and experience.
Local colorism as a trend first made its presence felt in the late 1860s and early 70s. Local colorist concerned themselves with presenting and interpreting the local character of their regions. The tended to idealize and glorify, but they never forgot to keep an eye on the truthful color of local life.
Naturalism is a more deliberate kind of realism, usually involves a view of human beings as a passive victims of natural forces and social environment. The most significant work of naturalism in English is Dreiser’s Sister Carrie (1900).
3.2 Representative writers and their works
Mark Twain [pseudonym of Samuel Langhorne Clemens] (1835-1910) was an American humorist, lecturer, essayist, and author. His primary works are The Innocents Abroad, The Adventures of Tom Sawyer, Life on the Mississippi, The Adventures of Huckleberry Finn, The Prince and the Pauper, A Connecticut Yankee in King Arthur's Court.
Mark Twain was the true father of American literature. He intentionally deviates from classical genteel and tends to use local dialects, colloquial language, even Black English, slang, clipped structures and ungrammatical sentences. He was a combination of realism with romanticism. His works combine American folk humor and serious literature, characterize a local culture, elements such as speech, customs, and more peculiar to one particular place. The physical settings, and people’s behavior and thoughts are different from the other places.
William Dean Howells （1837-1920）was born in a small town in Ohio and brought up in the humble surroundings of the rough-and-ready American Midwest. He had little education but was widely read.
Stephen Crane (1871-1900) was born into a New Jersey Methodist clergyman’s family. It is no exaggeration to state that Crane anticipated the chief phenomena of American literature in the first few decades of 20th-century. Crane’s best short stories include “Open Boat,” “The Blue Hotel,” and “An Experiment in Misery,” all reinforcing the basic Crane motif of environment and heredity overwhelming man.
Theodore Dreiser (1871-1945) has been a controversial figure in American literary history. The revival of naturalism in the 1930s enthroned Dreiser as the guide and pioneer for the latter-day naturalists such as James T. Farrell, John O’ Hara, for it is in Dreiser’s works that American naturalism is said to have come of age.
There are many other great writers in this period, such as Edwin Arlington Robinson, Jack London, O. Henry, and so on. They have made great contribution to the world’s literature.
4. The Age of Modernism
4.1. Characteristics of Modernism
The large cultural wave of Modernism, which emerged in Europe, and then spread to the United States in the early years of the 20th century, expressed a sense of modern life through art as a sharp break from the past. As modern machinery had changed the pace, atmosphere, and appearance of daily life in the early 20th century, so many artists and writers, with varying degrees of success, reinvented traditional artistic forms and tried to find radically new ones—an aesthetic echo of what people had come to call “the machine age.”
American drama imitated English and European theater until well into the 20th century. Not until the 20th century would serious American plays attempt aesthetic innovation.
4.2. Representative writers
Thomas Stearns Eliot (1888-1965) was born in St. Louis, Missouri, on September 26, 1888. He studied at Harvard, the Sorbonne, and Oxford. In 1927, he became a British subject. In 1917, he published The Love Song of J. Alfred Prufrock. And in 1920, Eliot began The Waste Land, which compelled immediate critical attention. After The Hollow Men and the Sweeney Agonistes, which continue The Waste Land’s critique of modern civilization, he turned increasingly to poems of religious doubt and reconciliation. The Four Quartets are poems written after his conversion to Christian faith. Eliot’s conservative critical essays in Tradition and the Individual Talent tended to carry as much weight as his poetry.
Robert Lee Frost was perhaps the most popular and beloved of 20th-century American poets. He was born in California. Like Eliot and Pound, he went to England, attracted by new movements in poetry there. He wrote of traditional farm life in New England (part of the northeastern United States), appealing to a nostalgia for the old ways. Among Frost’s volumes of poetry are New Hampshire, A Witness Tree, Steeple Bush, and In the Clearing. A Masque of Reason and A Masque of Mercy were blank verse plays. His poems are concerned with human tragedies and fears, his reaction to the complexities of life, and his ultimate acceptance of his burdens. Frost was awarded the Pulitzer Prize for poetry in 1924, 1931, 1937, and 1943.
Ernest Hemingway (1899-1961) was an American novelist and short-story writer. He is ranked among one of the greatest American writers of the 20th century. Hemingway’s first books, Three Stories and Ten Poems (1923), In Our Time (short stories, 1924), and The Torrents of Spring (a novel, 1926), attracted attention primarily because of his style. With the publication of The Sun Also Rises (1926), he was recognized as the spokesman of the “lost generation”.
Eugene O’Neill is the great figure of American theater. His numerous plays combine enormous technical originality with freshness of vision and emotional depth. O’Neill’s earliest dramas concern the working class and poor; later works explore subjective realms, and underscore his reading in Freud and his anguished attempt to come to terms with his dead mother, father, and brother.
Conclusion
Romantic period stretches from the end of the 18th century through the outbreak of the Civil War. Later American literature came to Transcendentalism Period which emphasized individualism, self-reliance, and rejection of tradition authority. The Civil War brought the Romantic Period to an end. The Age of Realism came into existence, which was against “the lie of romanticism and sentimentalism”. The period between 1910 and 1930 is referred to as the era of Modernism. During that period, a large number of artists and literary movements are totally different from those of the 19th-century’s, in style, form and content.
Bibliography
1.Wu Weiren. Ed. History and Anthology of American Literature. Vol. 1&2. Beijing: Foreign Language Teaching and Research Press, 2000.
浪漫主义美学范文2
关键词： 浪漫主义 英国浪漫主义 美国浪漫主义
浪漫主义作为一种文艺思潮，产生于18世纪后期欧洲资产阶级革命时代，反映了部分作家和诗人的社会变革时期的人生观的意识形态。英国浪漫主义一般认为始于1798年，标志为华兹华斯与柯勒律治的《抒情歌谣集》的出版，结束的标志是沃特・司各特的去世，以及议会第一个改革提案的通过。
英国浪漫主义时代首先是诗歌的时代。英国诗人彭斯和布莱克开创了浪漫主义诗歌的先河，到了19世纪上半叶，英国的浪漫主义到达了顶峰。由于诗人的社会立场和作品的思想内涵不尽相同，19世纪前期的浪漫主义可以分为两个不同的流派，即以歌吟湖光山色、田园风光为主的消极“湖畔派”诗人和更富有时代气息与时代精神的积极浪漫主义。前者代表作家有华兹华斯、柯勒律治和骚塞等人。湖畔派诗人愤世嫉俗，忧郁失望，作品以歌咏湖光山色和田野风光为主。而积极浪漫主义诗人则充满破除封建束缚的革命激情和向往新生活的崇高理想，作品强调自由平等和个性解放，充满瑰丽的想象和奔放的热情。然而，尽管英国的浪漫主义分为两个不同的流派，但他们在创作中却表现出某些共同的艺术特征。他们一般都视大自然为“美”、“生命”及“理想境界”的象征，他们不仅能从美丽的景色中获得意想不到的创作灵感，而且能从中感悟人生的真谛，透视生活的本质，揭示永恒的真理，诗歌的格律也跳出传统规范的制约，更加舒展、自由、灵活。
浪漫主义时期也是伟大的散文时代。其中柯勒律治、赫兹利特、德昆西是散文界的代表人物。浪漫主义时期的代表小说家有简・奥斯汀和沃特・司各特。奥斯汀对浪漫主义文艺思潮有深刻了解，但她的作品风格和道德意识还保留着18世纪的烙印，她对生活抱有完全的现实主义，没有感伤情调，也没有过分的激情。她的作品的主题是爱情和婚姻。司各特是当时最著名的小说家，在他对苏格兰、英格兰及欧洲大陆从中世纪至18世纪的变迁的描述中，司各特表现出对政治与传统的力量及他们对个人的影响深刻的洞察力。哥特式小说也是浪漫主义的一部分。它盛行于浪漫主义前期的18世纪末，这种小说的题材多为暴力、恐怖及对超自然的描写，这些内容极能刺激读者的情绪。哥特式小说代表作主要有德克利夫的《尤道夫之谜》、玛丽・雪莱的《夫兰肯斯坦》等。
美国浪漫主义时期开始于18世纪末，到南北战争爆发为止，是美国文学史上的重要阶段。国外的浪漫主义运动的发展对美国这一时期的作家也产生了重大影响。由于具有共同的文化传统，美国作家同英国的浪漫主义作家有许多共同之处。这一时期的大多数美国文学作品普遍强调文学的想象力和情感性，注重生动的描写、异国情调的表达、感官的和对自然力的描述。其中作品的主人公展现出敏感激动的特质。强烈地表现、赞扬个人和普通人几乎成了美国这一时期的文学信仰。简言之，美国浪漫主义时期的文学既继承了英国的文学传统，又开创了美国文学之风。他们描写、赞美美国本土壮丽的自然风光：在美国文学作品中，这些未开垦的荒原几乎成了人们品格的象征，它代表着道德准则，形成了美国文学中渴望离开尘世、回归自然的传统。
美国浪漫主义文学运动中重要的是新英格兰的超验主义运动，该运动开始于19世纪30年代的新英格兰的先验主义俱乐部。最初，这个运动是地方性的，逐渐的，它的影响扩展到全国，特别是在知识分子和文学界人士中影响很大。其代表作家是爱默生和梭罗。超验主义认为自然使人高尚，个人是神圣的，因此人必须相信自己、依靠自己。美国浪漫主义呈现多样化的特点，因此很难像划分英国浪漫主义那样对美国浪漫主义进行归类。
总之，英美浪漫主义在不同时期表现出自己的特色，美国浪漫主义与美国浪漫主义既有区别又有联系，在各自的文学发展史占有重要地位，对以后的文学发展起了很重要的作用。
参考文献：
［1］侯维瑞.英国文学通史［M］.上海外语教育出版社，1999.
［2］钱青.美国文学名著精选［M］.商务印书馆，1994.
［3］常耀信.美国文学简史［M］.南开大学出版社，1990.
［4］何树.英国文学导读与应试指南［M］.兴界图书出版公司，2005.6.
浪漫主义美学范文3
关键词：飞鸟集 西方 浪漫主义
1.西方浪漫主义文学思想
1.1所谓的浪漫主义是相对于现实主义而言的，浪漫主义同现实主义一样都是一种文学思想的表现形式，浪漫主义与现实主义主要是受作者文学创作思路的影响，文学创造者崇尚浪漫主义思想，则其作品更多的就表现为浪漫主义色彩，反之则是现实主义色彩。浪漫主义思想产生的时间较早，在世界文学史上的发展也比较悠久，早期的文学创造者就有相关方面的尝试，但是浪漫主义思想作为一种独立的完善的文学表现形式，却是后来随着世界文学发展而逐步成型的。
1.2从本质上讲，浪漫主义文学思想其实是文学创作的重要来源，部分文学创作者将理想与幻想视为浪漫主义思想的基本特点，从这个角度定义浪漫主义思想，西方浪漫主义文学思想的浪潮开始的时间应该是十九世纪中期，浪漫主义思想的鼎盛时期是由法国缔造的，到现在为止法国也是浪漫的代表。法国的资产阶级大革命有力的推动了浪漫主义文学思想的传播，那个时代的文学创作者对于理想、英雄及热情的崇拜完全都是通过浪漫主义的手法来表达。
1.3从文学发展的角度而言，西方浪漫主义文学思想的对立面不是现实主义文学思想，而是古典主义文学思想，西方的部分文献中有文字记载指出一切不按照古典传统思想写出的作品都可称为浪漫主义文学。严格意义上讲，浪漫主义文学思想的根本特点是主张个性与感性的表达，摆脱了文学作品受政治思想的束缚，运用浪漫主义思想创作的文学作品在表现手法上更加的讲究传奇性和个性。 浪漫主义文学思想在表达时，主要是通过一种超越现实的表现手法，来表达作者对于人生理想对于未来美好憧憬的向往之情，创作者希望能通过文字来向世人展示出理想唯美的生活画面。在文学作品中，浪漫主义强调的是对理想及希望样图的描述，即使文学创作暂时违背了生活常理也可以理解，更多的情况下，浪漫主义文学作品是文学创作者的主观意向的表达，是作者内心的文学世界，通过描述现实社会不存在的理想生活，来表达和抒发自己对于现实社会的看法和对未来的美好希望。
1.4从表现手法上讲，浪漫主义文学通常会采用幻想、夸张等方式来表达作者内心的情感，浪漫主义在表现手法上不追求现实主义的外表相似，文学意向更多是按照作者主观感情来进行选择，作者在文学意向的基础上再通过想象夸张及比喻等等写作手法，来表达自己的创作思想，浪漫主义文学常常会采用超出人想象力的夸张的手法来表现作者的情感，再者就是通过离奇的故事情节和华丽的辞藻来表达。
2.从飞鸟集看西方浪漫主义思想
2.1在泰戈尔的飞鸟集中，经常会有诗句通过物化及夸张的表现手法来抒发作者的情感，将日常生活中人们已经习惯的没有生命的物体，赋予它生命特征。比如在飞鸟集中有这样的诗句，“月儿呀，你在等候什么呢？”，这里诗人泰戈尔就是通过运用拟人的手法，将月亮拟人化，通过向月亮发问，来表达自己内心的情感。又比如飞鸟集中说道，瀑布歌唱道，“我得到自由时便有歌声了”，这句话其实是通过将瀑布物化的手法来表达诗人自己内心对于自由的向往。泰戈尔在飞鸟集中充分表达了自己对于大自然的向往和热爱之情，通过大量的夸张、拟人的修辞来表达，比如他将自然的黄昏比作一盏昏暗的灯，将鸟儿的鸣啼比作清晨的回音，将树叶比作思绪等等，在泰戈尔眼里，世间万物都是有生命的。
2.2泰戈尔的飞鸟集中大部分诗句都表达了作者对于美好生活的热爱和憧憬，对于大自然向往和追求，诗句清新自然不矫揉造作，一切浑然天成。从这个角度讲，泰戈尔的飞鸟集是典型的西方浪漫主义文学思想的作品，在飞鸟集中，通过质朴的文字可以看出诗人创作的灵感来源就是生活，但是通过浪漫主义思想的表达，又远远的高于现实生活，泰戈尔用自己高超的文学创作技巧和表达技巧，避开了生活中阴暗的一面，将阳光的一面呈现给读者。飞鸟集中对于感情对于爱的表达和描述，更能说明作者对浪漫主义文学思想的热爱。
2.3泰戈尔通过对于一些微小事物的赞颂，来表达自己对于微小力量的赞美之情，回归到现实社会中，微小的事物比如花草
类等，都代表着一切为了美好生活而默默奋斗的人，这些人就像那些无名的花朵一样，虽然没有华丽的外表，却有着崇高的内心世界和精神信仰，泰戈尔也是在呼吁世人不要只是一味地注重那些外表光鲜内心空洞的人，要多注意哪些默默奉献自己的人。这种默默无闻的奉献精神和奋斗精神，不仅能够体现出人生的根本价值所在，而且还能充分表现出这个世界真正可贵的是人格的力量。在泰戈尔眼中，优秀的人格是对生活极其热爱，对未来充满着美好的幻想，有着坚定的生活信念。就像飞鸟集中说的那样，“群星不怕显得像萤火虫那样”，通过这句诗就能完整的表现出泰戈尔对于高尚人格的追求和赞美。高尚的人格永远不会被外界的黑暗所掩盖，这就是泰戈尔追求的哲学思想，也是泰戈尔内心浪漫主义文学思想的强烈表现。
浪漫主义美学范文4
关键词：浪漫型艺术；转型；美与丑；现代艺术
一、浪漫型艺术的转型
黑格尔宣布艺术在发展到浪漫型以后将走向终结。艺术有没有终结，以及如何终结曾引起国内外学术界的热烈讨论。但这只是黑格尔意义上的终结，终结只是转型的一种话语模式。随着社会的不断发展，机器复制艺术的迅速增值，艺术已深入人类生活并成为人生的一部分。艺术并没有终结，却有艺术史家惊呼“艺术史终结了”。
黑格尔关于艺术发展的象征型、古典型、浪漫型三大系列的观点虽然提出了一些深刻的美学见解，但它是否符合艺术史的实际却值得怀疑。后现代艺术精神的发展，打破了历史决定论的迷梦。艺术所具有的个体创造性，使艺术充满直觉、灵感、偶然与断裂。艺术的转型不是历史的必然，恰恰是历史断裂的呈现。艺术的最高价值并没有高低之分，在艺术的类型之间也不存在孰优孰劣，只存在人的判断力的差异和个人主观兴趣的爱好。艺术史的面貌是由不同的风格组成的，风格来源于时代的精神状况和天才艺术家的独创性。这一独创性以打破旧的束缚，形成新的风格为标志。
继浪漫型艺术以后，现代主义、后现代主义的先锋艺术异军突起，逐渐成为时代的大潮。20世纪的艺术家们再也不囿于古典艺术概念的束缚，而是采取一种反传统和反常规的艺术观念，同传统的艺术背道而驰。“艺术并没有死亡。结束的只是其作为不断求新的进步过程的历史。”艺术已不纯是诗意的，艺术成了散文形式；艺术不再追求纯美而是呈现丑恶；艺术不仅表现崇高，也表现媚俗；艺术不仅表现现实，更多是表现幻想；艺术的种种悖论在现代艺术中并存。
仔细研究黑格尔以后浪漫主义艺术精神的发展，我们可以看到两次大的转型：第一次转型是现代主义的，第二次是后现代主义的。
先谈第一次转型。浪漫主义精神根源于中世纪的罗曼司，在德国哲人的沉思中则纯化为一种美学原则。有人把浪漫主义概括为“现代性”的第一次自我批判。尽管法国的卢梭是浪漫主义的直接先驱，德国古典哲学却是哲学领域里的浪漫主义运动，德国人的哲性思维、宗教神秘感的情绪，天生便具有浪漫主义的气质。叔本华、尼采、狄尔泰、西美尔，在哲学和社会学中使浪漫主义得到新的表达。浪漫主义美学传统张扬这样的价值：人生应是诗意的而不是散文化的，精神生活应该以本真的情感为出发点，人应以自己的灵性作为判断事物的根据，人的直觉和信仰比起知性来，更接近人的真实。科学技术使人和自然分离，人应该与大自然相统一。浪漫主义企图拯救被工业化和数字化所淹没的人的内在灵性智慧。浪漫主义的这一特点和先锋派艺术的追求是一致的，先锋派几乎是浪漫主义美学原则发展的一个必然。英国社会学家伯尼斯·马丁教授对二战以来当代西方世界的文化艺术流变的过程做了研究，将“战后数十年的文化变革视为浪漫主义原则持续发展的产物”。他着重探讨了1960年代末期的“反文化”风潮，认为它是某种至关重要的浪漫主义价值观的突出表现，并在1970年代融入我们的文化机制中。
浪漫主义产生的直接后果就是现代主义。黑格尔说：“浪漫型艺术的真正内容是绝对的内心生活，相应的形式是精神的主体性，也即主体对自己的独立自由的认识。”朱光潜先生在翻译了黑格尔《美学》中的《浪漫型艺术的解体》后评论说：“黑格尔指出浪漫型艺术的基本出发点是主体性原则，这就导致实体性内容的放弃，主体与客体的分裂和各自独立，内容与形象的分裂，艺术的创作能力和技巧成为艺术的主要因素，为什么运用某一种内容和某一种形式，都听命于偶然和主体的任意幻想。这就是浪漫艺术解体的根本原因”。从诗学的意义上看，现代艺术推崇主体性的绝对自由的观念是浪漫型艺术精神发展的结果。
西里尔·康诺利在1965年出版的《现代运动：英国、法国和美国一百部重要作品，1880—1950》中说：“法国人是现代运动之父，这个运动慢慢移到海峡对岸，然后穿过爱尔兰海，直到美国人最后继承下来，并把他们自己的魔力、极端主义和对异常事物的趣味带人这个运动之中。”赫伯特·里德说：“我们已经看出，当代的变革有着不同的性质：它并不是暗示倒转，甚至倒退的变革，而是解体，是退化，有些人会说是崩溃。它的特点是灾难性的。”这是一个与一切传统猝然决裂的运动，欧洲人五个世纪努力的目标被公然放弃了。在这个时代产生了过去任何一个时代都没有的作品，如，印象主义、后印象主义、表现主义、未来主义、象征主义、意象主义、立体派、达达主义、超现实主义的作品，这些作品以艺术家独特的感觉和情感宣泄方式，以十分怪异而又令人着迷的艺术形式，表现了一个时代和个体的全新的感觉。罗兰·巴特说：“传统的写作崩溃了，从福楼拜到今天的整个文学都成了语言的难题”。一种新的时代的异端风格，成了“想象的博物馆”，构成了文化的地震学。它记录了文学艺术和思想史上的感情变化和转移的过程。时代的更迭稍纵即逝，思想情感的变化层出不穷，历史与现实悠然脱节，传统价值瞬间崩溃，启蒙以来的理性大厦颓然倒塌，过去时代的广大领域化为一片废墟。现代主义已经形成了一种无形的社会风格。这个词语，曾被用来包括各种破坏现实主义或浪漫主义激情的运动，它与实验艺术或先锋艺术一起引起了人们的注目，成为20世纪艺术的一个中心。
浪漫主义美学范文5
关键词：沈从文 《边城》 浪漫诗情 乡土中国 反现代性
中国的浪漫主义文学思潮正式崛起并取得全盛是在五四时期，在20世纪三四十年代产生了分化，并处于边缘状态，沈从文正是在这时形成自己独特的写作风格。沈从文是一个众说纷纭的人物，曾志清称他是中国现代文学中最伟大的印象主义者，有论者视他为实证主义的作家、现实主义的乡土作家，杨春时和俞兆平都认为他是最接近经典的浪漫主义，而他也自称是30年代“最后一个浪漫派”。
一、“最后一个浪漫派”的“浪漫诗情”
沈从文自称是“最后一个浪漫派”，《边城》可以说是一部浪漫主义田园诗的杰作。小说写得精致、灵巧、含蓄、隽永，充满诗情画意。①作者所描绘的边城茶峒，凭山依水，风景如画。
《边城》是一首浪漫主义爱情诗。小说当中，翠翠与傩送之间的爱情故事， 成为作者沈从文创作这部充满人性和抒情作品的载体，抒情就是这一部小说所要发挥出的目的。因此， 沈从文在这部小说中的叙事笔调，流动着并且倾泻出对于美丽、对于爱的一种咏叹和忧伤，使整部故事成为一部爱情的寻觅以及幻想的浪漫主义美学杰作。天保和傩送兄弟二人喜欢上了翠翠，以此作为故事的经线，而老船夫的关爱、撮合孙女的婚事等作为纬线，进而作者又推波助澜，让翠翠和傩送以及天保之间的爱情纠葛起来，成为一种非常独特的乡镇爱情图景，其中又伴随着翠翠、傩送等人的内心曲折，表现出一种来自中国传统诗歌当中的隐隐忧伤，带着一种独特的浪漫主义的感伤忧郁，抒发着各自心胸中的浪漫和伤感。正如翠翠为新娘子摆渡的那一段，“站在船头，懒懒地攀引缆索，让船缓缓地过去”，②从这一段就表现出一种纯情的遐想，对于幸福有着憧憬，这里面的感伤和浪漫主义的画面感，都生动地表现出来。整部小说当中，都是围绕着翠翠的爱情故事进行和展开的，小说结尾，“这个人也许永远不回来了，也许‘明天’回来”。这个等待给人无限的遐想。
《边城》同样是一首讴歌人性的赞美诗。爷爷和翠翠的亲情、傩送和天保的兄弟情、边城人民的邻里情等都展现了人性的美好。这里的每一个人物，不论是船夫、姑娘、士兵、过往商客，尽管物质生活条件不同，但他们的心灵都是那么质朴、诚挚、善良。人与人之间的关系是真诚相待，和睦相处，一家遭难各方帮助，决不以金钱、利害、得失来权衡一切，没有受到都市文明所带来的精神污染。这些作者笔下的美好人性是湘西“诗意世界”的重要组成部分。
二、“乡土中国”东方式的浪漫主义
在小说《边城》中，我们不仅可以看到作者妙笔下美丽的湘西自然风景，同时也可以领略到独具特色的湘西民俗和传统节日。中秋夜，青年男女用对歌的方式在月下倾吐爱慕之情;每到端午节，家家锁门闭户、官民同乐，一起到河边、上吊脚楼观看龙舟竞赛，参加捉鸭子的比赛;正月十五的夜晚，舞龙、耍狮子、放烟火，使得小小的山城沉浸在一片欢乐之中。在这些具有纪念意义的传统节日中，湘西人民有着独特的庆祝和纪念活动。这是中国乡土文化中不可或缺的组成部分。
正是对这些传统节日和自然风情的描写，给当时处于社会变迁中的读者留下了理想化的精神家园，重新回到了民族文化之中，找到了新的精神领地。作者在《边城》中描绘了一幅美丽的湘西风俗画，用平白直叙的语言，为这座偏远闭塞的“边城”营造出了优美的生活氛围，而这种氛围弥漫在整部作品中。在那个时局动荡的年代，不管“边城”外的人们如何不幸，生死存亡的恐慌感都似乎永远影响不到这里。这个作者构造的理想世界，在今天依然有着极大的魅力。随着科技的进步，沟通工具的不断更新，人与人关系的不断淡漠，外来文化侵蚀着历史传承下来的文化，越来越热衷于西方节日的现代人，只能在这样的文学作品中去遐想和体验传统节日的精彩。作者特意把故事的发展，穿插了提亲、陪嫁、对歌以及丧葬等苗族风俗的丰富描写，从而使得整部小说充满着浪漫主义的画面感，这方面占了小说将近三分之一的篇幅。而翠翠和傩送兄弟二人的相识、 傩送对翠翠的一见钟情， 这些或是美好或是矛盾的事件， 都发生在端午节， 边城的乡土意味和独特浪漫就更加明显了。
三、“对抗现代性”的“纯白之心”
很多学者把沈从文和鲁迅进行比较，把 《边城》这类作品当成乡土写实小说 ， 认为沈从文是现实主义写实作家。其实沈从文与鲁迅的创作还是有很大差别的，鲁迅认同现代性，直逼现实，先前看，加法，求“快”，而沈从文却是回避现实，反现代性，向后，减法，求“常”。
正像所有浪漫主义对现代性的反抗一样，沈从文关于对现代性的对抗在《边城》中有明显体现。五四时期中国面临内忧外患，迫使人们站在历史主义的立场上， 争取现代性， 批判传统文化。《边城》所写的背景是在辛亥革命之后不久，作者对时代特征并不是不了解，但是， 沈从文则站在历史主义的反面， 批判现代性， 呼吁伦理的价值回归。他自己也直言不讳地说：“我的读者应具有理性， 而这点理性便基于对中国社会变动有所关心， 认识这个民族的过去伟大处与目前堕落处。”②作者意识到民族精神的堕落，作者崇尚的是一个具有纯朴民风的社会，因此作者构建了一个完美的理想世界来抗衡民族精神的堕落。
沈从文所关注到的正是这个人类也许永远也作不出完美回答的问题， 人类社会的历史进步往往是以伦理的相对退步为代价的， 而人类精神又恰恰要求在新的历史发展阶梯上的伦理主义复归。他并没有随波逐流，投身狂热的革命浪漫主义文学，而是去追寻人性的本质。这一点使他具有了与20世纪中国主流文学不同的气质。正是沈从文的“纯白之心”，他的创作才成为了中国现代文学史上难能可贵的经典。
四、总结
沈从文通过《边城》让我们领略了具有淳朴风情，远离现代喧嚣的诗意世界。他在《边城》中要表现的“本是一种人生形式，一种优美、健康、自然，而又不悖乎人性的人生形式”。③这正体现了浪漫主义作家“回到自然”的特点，这是和法国启蒙思想家卢梭提出的“返回自然”的口号契合的，这个口号的提出为浪漫主义文学和美学理论的发展开启了思想的闸门。当然，这里的“返回自然”不仅意味着返回朴野绚丽的大自然，返回人类的原始生活状态，更是回到人的自然本性。沈从文正是通过以《边城》为代表的系列小说来达到他构建希腊人性小庙的目的。沈从文为代表的浪漫主义作家完成了从自我表现的浪漫主义向自然表现主义的转变。
注释
① 张德林.怎样评价《边城》[J].书林，1984（1）.
② 沈从文.沈从文全集[M].太原：北岳文艺出版社，2002.
③ 沈从文.沈从文文集[M].广州：花城出版社，1984.
参考文献
[1] 张德林.怎样评价《边城》[J].书林，1984（1）.
[2] 沈从文.沈从文说文物（民俗篇）[M].重庆：重庆大学出版社，2014.
[3] 沈从文.沈从文全集[M].太原：北岳文艺出版社，2002.
[4] 汪曾祺.晚翠文谈新编[M].北京：三联书店，2002.
[5] 沈从文.沈从文文集[M].广州：花城出版社，1984.
浪漫主义美学范文6
关键词：浪漫主义因素；平面设计；视觉传达
浪漫属于一种情感状态，现代平面视觉传达中多用此表现给大众不同的视觉感受，平面设计者可将两者完美融合，给予设计作品浪漫情绪，充分满足大众对浪漫情绪追逐的目的，而这亦为平面设计的本质追求。现代化社会经济的飞速发展，人们更加注重精神追求，而平面视觉传达时采用浪漫主义因素已是人们的期许，更是平面设计者应高度重视的问题。因此，解读浪漫主义因素在平面视觉传达中的蕴涵，对平面视觉传达业的进一步发展有着极大的推动作用。
一、解读浪漫主义与平面视觉传达
1.浪漫主义
浪漫本指现实生活中独特的传奇故事、爱情故事，之后被人们引申为极具感彩、富有诗意与幻想的故事情节及面目。艺术中的浪漫为一种创作或者表现手法，但浪漫亦可代表艺术思潮或者艺术流派。艺术家艺术创作时会自然而然的选择并遵循相应的美学原则及创作方法，而浪漫主义为人类艺术发展过程中极具影响力的创作手段，其强调理想化对象的描写，呈现创作者的激情，更充分渗透了人们对理想世界的执着追求，直接并直观的表达人们内心的强烈感受，大都以强烈的言词及瑰丽的想象、离奇夸张的手法创造相应的形象。
2.平面视觉传达中浪漫主义应用的可能
现代人更注重精神追求，艺术设计亦高度重视人性化，而人性化强调设计者及消费者的心灵、情感沟通，更深层的解读消费者的心理需求，充分满足消费者的各方面需求。以此种情感呈现并渲染的浪漫主义所创作出的作品非常之多，而极具情趣的广告更能吸引社会大众的眼球。视觉传达中采用的情感因素可与消费者取得情感共鸣，以此打动、刺激消费者，并留给消费者美好的印象，至此便实现了视觉传达。现代设计时要高度重视感情，特别是极具感彩的主题中，应充分渲染感彩，以使商品给大众美的享受，刺激消费者作出消费行为。可见现代视觉传达设计更注重亲切、柔和的言词，强调自然流畅风格，并以真诚的诉求打动社会大众，将功利匿后突显产品的情趣化，人们对此种设计的接受程度高。
二、平面视觉传达中浪漫主义因素应用原则
1.消费者内心需求
现代化社会的飞速发展，平面视觉传达工作亦随之不断改革。目前，已转变为高度重视消费者心灵情感沟通和交流，并强调以作品设计满足消费者内心需求，让消费者获得物质需求、精神需求的双面满足。将浪漫主义作为情感基础，强调趣味情趣感、人情味设计理念的融入，确保平面视觉传达中作品设计更为人性化。
2.审美诗意
浪漫为人们内心的幻想色彩，其极具审美诗意感，将此用于平面视觉传达作品设计时，则强调设计人员对此情感的呈现。通常平面设计者对浪漫主义因素创作时，其均需借助色调、色彩、形象以及手法等内容来实现，其所用色调应极具语言色彩，而色彩亦需鲜明生动，手法也应适当夸张化，将浪漫情感充分融入设计作品中，使作品展现出设计者内心强烈的情绪感受，并呈现出其理想追求，而这亦是对设计者内心状态的真实反映，赋予设计作品诗意般的灵魂，使其呈现出非比寻常的独特感，并吸引更多社会大众的共鸣。
3.理论本质情感化
浪漫主义应将情感充分突显，并强调自身理论本质属性，使得设计作品更具情感性，同时保留其本质特征。平面视觉传达设计者应高度重视消费者目光的吸引，并依设计作品去潜在引导消费者的消费活动，而这均需情感启发及激励，无论是何种作品，为其设计时均应强调理论本质情感化，充分呈现情感，选择不同情感的主题表现作品本质，给作品相应的平面设计结构，使作品具有情感，并充分刺激消费者心理，促使其作出相应的消费活动。
4.现实生活浪漫化
平面视觉传达设计者作品设计时，应强调作品浪漫主义化，但务必尊重现实生活。艺术来自于人们的日常生活，浪漫主x亦不例外，其来自现实生活中的缺憾，以现实生活为基础而生存，尽管其所呈现的为超现实倾向，但本质仍旧是要回归现实，并服务于现实生活。平面视觉传达设计者应高度重视人们对现实生活的希冀、憧憬挖掘，并据此对作品作浪漫主义创作，让设计作品更具生活化。
5.理性渗透
平面视觉传达设计者设计使用浪漫主义时要强调理性渗透，赋予设计作品直观层面无功利性，并确保其极具情感性及形象性，而深层次呈现其功利性、理性、认识，要让相关设计工作具有相应的约束，避免作品设计不贴近现实生活，或者更不符合人们的相关需求。
三、平面视觉传达中浪漫主义因素应用表现载体
平面视觉传达设计工作经过多年发展，其浪漫理念已存在自身独特的表现方式，本章对平面视觉传达中浪漫主义因素应用表现载体进行了下述分析：
1.基于爱情的浪漫主义表现
浪漫本源自爱情，现代人对浪漫的定义更倾向于爱情，平面视觉传达设计人员使用浪漫主义作视觉传递时，应注重爱情载体的应用。基于爱情作浪漫主义作品设计时，要强调主题意念对作品思想内涵的突显，可以年轻恋人间青涩的恋情与依恋情感作为基础，对作品作相应的视觉设计刻画，确保作品成形后具有明确的情感基调，使作品视觉传达贴合主题思想，比如目前的诸多巧克力商品，其所作的平面设计中充分运用了年轻恋人间的青涩情感，使得巧克力平面设计的视觉传达恰到好处。实际作品设计时，设计者应高度重视与主题意念相关联的素材调动，以此充分烘托作品的中心情感，促使作品更深层的激发消费者的情感共鸣，并潜在性引导消费者与此情感共鸣，使作品与消费者进行心灵的沟通，让作品视觉传达延留于消费者心中。
2.基于生活憧憬的浪漫主义表现
浪漫主义历经爱情的界定后，便被用来表现人们对现实生活的不满，并表达着人们对未来生活的美好憧憬与期许。平面视觉传达设计者应高度重浪漫主义界定的偏移，以浪漫主义手段将人们对生活的憧憬与期许充分呈现，并根据实际情况构建出更具吸引力的结构。设计作品视觉传达时要充分体现人们对未来生活的憧憬坚持，可经时空变化与情境转变呈现人们对未来憧憬的状态，比如表现家庭幸福的主题时，设计人员可将两个人恋爱到结婚与生儿育女经时空转变呈现给社会大众，每个场景后的景致均应做相应的变化，突显演进过程中的幸福。
3.基于自然环境的浪漫主义表现
无论是平面设计中的艺术作品，亦或是人们的诗词文章，呈现相应的浪漫情感时均需借助自然环境，以自然界中的形态、意蕴、色彩等景致刻画不同的情感，确保平面视觉传达作品设计更具自然感。比如设计者作护肤产品平面设计时，大都喜欢以空旷的大地或者蔚蓝的天空、青青的草原等景致作为背景，再选择娇嫩的鲜花或者干净的露珠、洁白的牛乳等物质来呈现护肤产品的内在美，女性消费者极易被此种设计所吸引，可由此产生极强的浪漫感，经视觉审美达到内心认同。
四、结语
浪漫主义因素融于平面视觉传达中，可增强作品的艺术色彩，赋予作品灵魂与生命力，呈现出人们对未来生活的憧憬与期许，满足其精神层面的情感需求。平面视觉传达设计者们应不断总结经验，全方位掌握现代人的消费观念，并敢于创新的设计独特的作品，使得消费者的物质要求、精神需求均被满足，实现平面视觉传达的应用价值。本文解读了浪漫主义与平面视觉传达，提出了平面视觉传达中浪漫主义因素应用原则，探讨了平面视觉传达中浪漫主义因素应用表现载体，以期为平面视觉传达中浪漫主义因素应用提供参考依据。
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