本文選題：典雅愛情　切入點：意大利　出處：《鄭州大學》2009年碩士論文　論文類型：學位論文

【摘要】：從十四世紀起,歐洲的莊園制度、采邑制度、騎士制度以及行會制度逐漸走向衰落,標志著封建制生產(chǎn)關(guān)系不再適應生產(chǎn)力的發(fā)展。與此同時,一種適應城市勃興需要、符合新興市民階級愿望的新的意識形態(tài)和思維方式首先在意大利的佛羅倫薩等地萌動。這場文藝復興運動在歐洲持續(xù)了三百年之久,它是一場啟蒙運動,尤其是發(fā)現(xiàn)人的價值、張揚人的個性的人本主義文藝運動對西方社會影響巨大。意大利上層社會包括愛情觀在內(nèi)的道德觀念都發(fā)生了一系列深刻的變化。 人文主義者們作為意大利社會中的一個較為特殊的文化階層,對于當時的社會上的政治、現(xiàn)實都有著較深的體會。人文主義者對這些變化都作出了自己的回應:集中的體現(xiàn)到他們作品中反映出的愛情觀之中。我們就是要通過分析意大利社會中存在的這種典雅愛情觀,來找到文藝復興時期意大利歷史發(fā)展的脈絡(luò)。 文藝復興時期的典雅愛情是對中世紀典雅愛情的繼續(xù)和發(fā)展。典雅愛情的起源于法國南部的普羅旺斯的抒情詩中,由于當時西歐經(jīng)濟復蘇城市勃興等等特殊社會環(huán)境導致其在歐洲的傳播和發(fā)展;在此基礎(chǔ)上,其除了與中世紀典雅愛情相似的三個特征:平等性、婚外性和單戀性之外,文藝復興時期的典雅愛情有著較之于中世紀典雅愛情更為理性的特點。 通過分析但丁、彼特拉克、薄伽丘、博亞爾多、阿里奧斯托和塔索的原始著作,得出他們的愛情觀中含有產(chǎn)生于中世紀騎士精神的典雅愛情的觀念。并且這種典雅愛情觀隨著意大利文藝復興從早期過渡到盛期、再到晚期的過程中也有著顯著的變化,愈來愈承認愛情是一種不可抗拒的力量。這些經(jīng)典的文學作品主要包括早期但丁的《新生》、《神曲》,彼特拉克的《歌集》和薄伽丘的《愛情十三問》、《愛的摧殘》等;還包括中晚期浦爾契的《巨人莫爾甘特》,博亞爾多的《熱戀的奧蘭多》,阿里奧斯托的《瘋狂的奧蘭多》,塔索的《里納爾多》、《被解放的耶路撒冷》、《阿明達》和本博的《阿索洛人》。 通過對意大利文藝復興早期的人文主義者的作品和中晚期的作品進行比較,會發(fā)現(xiàn)其典雅愛情觀的相似點和不同點以及這種愛情觀對社會的影響,集中體現(xiàn)在女性地位提高和對人文主義者的凈化。
[Abstract]:Since 14th century, European manor system, fiefdom system, chivalry system and guild system have gradually declined, indicating that the feudal production relations no longer adapt to the development of productive forces. New ideologies and ways of thinking that correspond to the aspirations of the new class of citizens first sprang up in places such as Florence, Italy. The Renaissance, which lasted for three hundred years in Europe, was an Enlightenment, especially the discovery of human values. The humanistic literature and art movement of publicizing people's individuality has a great influence on the western society, and a series of profound changes have taken place in the moral concepts of the upper class of Italy, including the concept of love. Humanists, as a relatively special cultural class in Italian society, were concerned about the politics of the society at that time. There is a deep understanding of reality. Humanists have responded to these changes: concentrated in their works reflected in the view of love. We are to analyze the existence of Italian society. This elegant view of love, To find the context of the Italian history of the Renaissance. The classical love of the Renaissance was a continuation and development of medieval elegance, which originated in the lyric poems of Provence in southern France. At that time, due to the special social environment, such as the economic recovery of western Europe, urban prosperity and so on, it spread and developed in Europe. On this basis, in addition to its three characteristics similar to medieval elegant love: equality, extramarital sex and single love, The classical love in the Renaissance had more rational characteristics than that in the Middle Ages. By analyzing the original works of Dante, Petrarch, Pegacchio, Boyaldo, Ali Osto and Tasso, It is concluded that their view of love contains the idea of elegant love, which originated from the medieval chivalry, and that this view of elegant love has changed significantly in the course of the transition from the early to the peak of the Italian Renaissance, and then to the later period. There is a growing recognition that love is an irresistible force. These classical works mainly include the early Dante's "New Life", "Divine songs", Petrarch's "Song Collection" and Pogacchio's "Love 13 question", "the destruction of Love" and so on; It also includes the late Puerchi Giant Morgante, Boyaldo's Olando in Love, Ali Osto's Crazy Orlando, Tasso's Rinaldo, liberated Jerusalem, Aminda and Bembo's Asolo. By comparing the works of the early Italian Renaissance humanists with the works of the middle and late period, we can find the similarities and differences of their elegant views of love and the influence of this view of love on the society. It is embodied in the improvement of the status of women and the purification of humanists.
【學位授予單位】：鄭州大學
【學位級別】：碩士
【學位授予年份】：2009
【分類號】：K546.3

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本文編號：1639350