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保罗·克劳岱(Paul Claudel,1868-1955)的创作经常因其宗教面而被拿来与自然主义作对照。十九世纪末、二十世纪初象征主义萌芽之际,自然主义已发展至末期。的确,两个思潮之间存在着对立,但并不表示左拉(Emile Zola,1840-1902)未对后来的克劳岱产生影响。本文将支持此一假说,并以左拉的著作《土地》(La Terre,1887)和克劳岱的剧作《少女薇奥莲》(La Jeune fille Violaine,1892)为例,力图指出两个作品之间的共通点。
The creation of Paul Claudel (1868-1955) is often contrasted with naturalism because of its religious aspect. At the turn of the nineteenth century and early twentieth century, symbolism sprang from naturalism to its final stage. Indeed, there is a rivalry between the two currents, but it does not mean that Emile Zola (1840-1902) did not influence later Crowton. This article will support this hypothesis and take Lazare’s book La Terre (1887) and Claudette’s La Jeune fille Violaine (1892) as an example, trying to point out that two Commonalities between works.