文艺复兴时期英国服饰

English Renaissance Dress

English Renaissance dress style was quite heavily influenced by the French, and to a lesser （较少的）degree the Spanish. Indeed some scholars debate whether there was an actual English Renaissance, but they do admit to an “artistic flowering” during the reigns of the Tudor monarchs. The English Renaissance period was characterized by achievements in literature and music, rather than the visual arts of painting and architecture that was developing in Italy and France. Even though some elements of English Renaissance dress were borrowed from other countries, they did make variations and improvements upon them. One example is the ruff（环状领）, this

small ruffle around the neck and sleeves of a man's linen （亚麻布）

shirt, which could vary greatly in its ornateness（华丽）, became a favorite of English gentlemen. The ruff had originally been introduced in Spain by a noblewoman wishing to hide a blemish on her neck.

During the English Renaissance, many garments（衣服）of the same style were worn by both the upper and the lower classes. However, the type, quality and especially color, of the fabric（织物）used for these clothes varied greatly between the classes. To the rich, fashion was very important as a symbol of their wealth and influence; to the poor, however, their concerns were that a garment be practical, and above all durable（持久耐用的）. All classes used wool or linen（亚麻

布）for shirts and underwear, but of vastly different quality. Only the extremely wealthy could afford cotton or silk under garments. These were often embroidered（绣花的）with gold, silver or silk thread（线）.

Fabrics used in English Renaissance clothing were colored almost exclusively with vegetables dyes（染料）. The most common being madder for red, woad（靛蓝）for blue, and walnut （茶色）for brown.

In order to create other colors and shades, a chemical, known as a mordant, was needed. For instance, alum（明矾）used with the weld

（焊接）plant would produce yellow, whereas iron or tin used with weld would result in shades of green. The most expensive dyes to produce were bright red and black. Therefore, only the truly wealthy wore jet（深黑色）black clothing, and scarlet（绯红色）, during the English Renaissance, referred not to a color, but to an extremely expensive fine grade of wool. Because dyeing was expensive, the clothing of the poorer classes was generally limited to uncolored linen and brown wool.

Laws passed during the English Renaissance, known as Sumptuary （规范的）Laws, were supposed to help curb（抑制）some of the growing extravagance （铺张浪费的）centering around clothing, but they also further enforced and emphasized the differences between the classes. Only members of the royal family could wear “fur of the black genet（麝猫）”. A person must be at least a viscount（子爵）, in order to wear sable（黑貂皮）, and a Knight of the Garter to wear blue or crimson velvet（深红色天鹅绒）.

Howards' Renaissance Dress is committed to bringing you a variety of Renaissance, medieval （中世纪的）and gothic（哥特式小说风格的）clothing and accessories（配件）, ranging from peasant wear to more noble dress. Most of our garments for men and women are available in plus-sizes. As you browse our pages for gowns（长袍）, breeches, tunics, vests, doublets, and much more; we hope to entertain you with a little English Renaissance history along the way. Thank you for visiting with us, and we hope you will come back often!!

Mens English Renaissance Dress

The splendor （光辉）of the English Renaissance costume for men, was

nowhere more evident than in an account of the meeting between Henry VIII and Francis I of France. Henry is said to have worn a

doublet（男子紧上衣）made of cloth of gold, a rose-colored velvet（天鹅绒）vest, a collar made of alternating rows of rubies （红宝石）and pearls（珍珠）, the order of Saint George, on an embroidered（绣花的）

velvet ribbon（绸带）, was draped around his neck. The boots he wore were of the softest yellow leather; and his roll-brim black velvet hat was encrusted with a band of diamonds, rubies, emeralds, and pearls, and trimmed with a curling long white feather. The middle portrait is of Henry's hated rival, Francis I.

One style of English Renaissance dress for the wealthy or noble man began with a plain or plaited（编制的）linen（亚麻的）shirt accented

（强调）at the neck by a small ruffle（花边）or ruff. At the wrist（手腕）, the sleeve was adorned（装饰）with a similar ruff. Over this was worn a close-fitting square cut vest. Atop the vest, a tunic（短上衣）or

doublet（紧上衣）, that was slashed（斜线）and reached nearly to the knee. The V-shaped opening of the tunic revealed the shirt and vest beneath. An example of this style can still be seen today in the uniforms of the "beef-eater" guards at the Tower of London. Beneath the doublet, the trunks（运动裤）were very full, slashed and puffed（夸张）. The hose（长筒袜）, which were of the finest wool, or in the case of royalty silk, were attached to the trunks with jeweled bands. Completing the ensemble was a very full knee-length outer garment made from velvet or cloth of gold. It was most often trimmed with a turnover fur collar, which made the width of the shoulders appear very broad. Wide elbow-length sleeves were encircled with deep fur bands. One might have several pairs of sleeves that could be laced on to the garment, depending upon the function the wearer was

attending. For the house or ballroom, the gentleman would wear a similar garment made of lighter-weight materials. The portraits of Henry VIII above, depict him wearing this style of English Renaissance dress.

Womens English Renaissance Dress

Women's dress, during the early years of the English Renaissance was in a definite state of evolution; drawing upon recent trends developing in Italy and Spain. The bodice, or waist, which was actually more like a corset, was lengthened and came to a dramatic point in the front; thus drawing in the waistline in a decidedly unnatural manner. The portrait on the left, of Lady Eleanor Herbert, is an excellent example of the extremely elongated waist. The neckline was generally square-cut, and decorated with a stiff embroidered inset, or with the recent Italian invention, lace. Attached to the bodice by laces, the narrow sleeves were adorned at the wrist with elaborate spills of lace, or bands of fur.

Skirts worn by English Renaissance women were very full, and were supported by an under garment known as a farthingale; which consisted of a frame of hoops made from wood, whalebone, or even iron covered with a petticoat of fine linen. The farthingale was lifted up and supported around the waist by a coarse linen band referred to as the bum-roll. After about 1530, another under garment, the crinoline, appeared in Renaissance England. Originally developed in Spain, Queen Claude of France, who at one time had been served by the very young Anne Boleyn as lady-in-waiting, was responsible for introducing the crinoline to English ladies of the court. The hoops of the English crinoline became so large that edicts were passed to ban the wearing of them. Most ladies, however, ignored these bans and continued to wear crinolines, even though they were uncomfortable and inconvenient. The center portrait of Queen Anne, wife of James I, shows the exaggeration of the English crinoline.

English Renaissance ladies usually completed their dress with a surcoat. This tight-waisted outer garment was open in front, in order to reveal the elaborate design and decorations of the skirt underneath. The sleeves, which were often floor-length, widened and flowed down from the shoulders, ending with fur edging. The surcoat was sometimes lined with fur that overlapped and trimmed the edges of its skirt. The portrait on the right is of Frances Sydney, Countess of Sussex, wearing just such a surcoat. The garment was most often

made of velvet or satin, but the more elaborate ones were made from embroidered silver tissue, or cloth of gold.

Childrens English Renaissance Dress

Children's English Renaissance dress generally followed the same style, and used the same materials, as the adults of the class the child was born into. All children wore swaddling bands until they were six to twelve months old; the only difference being the fabric of the bands. Most peasant infants were swaddled in bands torn or cut from cast-off clothing from their siblings or parents, that had become too worn to be mended or cut down for use by another family member. Children of the upper-classes and the nobility had their bands made from the finest, softest linen, and sometimes even silk. Parents of the time thought the swaddling bands would help the child's limbs to grow straight; they believed that it was not good for so young a child to be free to kick its legs, and flail its arms.

The next stage in children's English Renaissance dress, was the tunic or gown. Peasant children often wore tunics handed down from siblings, or cut down from the tunics of older siblings or parents. This garment was most often made from a coarse, uncolored linen. Children of the upper-classes wore, what we would think of today as a gown. It was often made from fine fabrics, such as the softest wools, linens, and velvets. Although the fabrics might have varied, the purpose of the poor child's tunic and the wealthy child's gown was the same; to allow the child freedom of movement to begin crawling. English Renaissance dress for boys and girls was much the same until the boy was deemed ready to be "breeched". At this time, the boy had what was known as a "breeching party", and was given his first pair of breeches, along with other items of male attire. This ceremony took place whenever the child's parents and nurse decided the time was right; so a boy might be "breeched" as young as three, or as old as seven. A fine example of a young boy in a gown is depicted in the middle portrait above. It is of Lady Katherine Grey and her son; not her daughter as one might think from the dress the child is wearing. The sumptuousness of dress for English Renaissance children of the nobility can be seen above. The portrait on the left is Edward, Prince of Wales, later Edward VI. He looks very much a miniature version of his father, Henry VIII. The portrait on the right is of Arabella Stuart, who in later life became an important noblewoman of the English Renaissance.

自考英美文学选读 第一章 文艺复兴时期(英国)(课文翻译)

英美文学选读翻译（英语专业自考） 第一部分：英国文学 第一章文艺复兴时期 文艺复兴标志着一个过渡时期,即中世纪的结束和现代社会的开始。一般来说,文艺复兴时期是从十四世纪到十七世纪中叶。它从意大利兴起,伴随着绘画、雕塑和文学领域的百花齐放,而后文艺复兴浪潮席卷了整个欧洲。文艺复兴,顾名思义即重生、复苏,是由一系列历史事件激发推动的,其中包括对古希腊罗马文化的重新发现。地理天文领域的新发现,宗教改革及经济发展。因此,文艺复兴从本质上是欧洲人文主义者竭力摒弃中世纪欧洲的封建主义,推行代表新兴城市资产阶级利益的新思想,并恢复早期宗教的纯洁性,远离腐败的罗马天主教廷的一场运动。 文艺复兴浪潮影响到英国的速度比较慢,不仅因为英国远离欧洲大陆,而且还因为其国内的动荡不安。乔叟去世后的一个半世纪是英国历史上最动荡不安的时期。好战的贵族篡取了王位,使英国走上自我毁灭之路。著名的玫瑰之战就是极好的例子。后来理查三世的恐怖统治标志着内战的结束,在都铎王朝的统治下英国的民族情感又成长起来。然而直到亨利八世统治期间(1509-1547),文艺复兴的春风才吹入英国。在亨利八世的鼓励下,牛津的改革派学者和人文主义者们将古典文学引入英国。基于古典文学作品及《圣经》的教育重获生机,而十五世纪就被广泛传阅的文学作品则更加流行了。自此,英国的文艺复兴开始了。英国,尤其是英国文学进入了黄金时代。这个时期涌现出莎士比亚、斯宾塞、约翰逊、锡德尼、马洛、培根及邓恩等一大批文学巨匠。但英国的文艺复兴并未使新文学与旧时代彻底决裂,带有十四、十五世纪特点的创作态度与情感依然贯穿在人文主义与改革时代。 人文主义是文艺复兴的核心。它源于努力恢复中世纪产生的对古希腊罗马文化的尊崇。人文主义作为文艺复兴的起源是因为古希腊罗马文明的基础是以"人"为中心,人是万物之灵。通过这些对古代文化崭新的研究,人文主义者不仅看到了光彩夺目的艺术启明星,还在那古典作品中寻求到了人的价值。在中世纪的社会中,个人完全隶属于封建统治,没有独立和自由可言;在中世纪的神学理论中,人与周围世界的关系仅仅是人消极适应或消极遁世,不允许追求快乐,以备死后灵魂得以超脱。然而人文主义者们却从古代文化遗产中找到了充足的论据,来赞美人性,并开始注意到人类是光荣的生命,人自己可以不断发展,至善至美,而且人们生存的世界是属于他们的,供他们怀疑、探索以及享受。由此,人文主义者通过强调人类的尊严、强调今生今世的重要性,喊出了他们的信仰,即人类不仅有权利在今生今世美好生活,而且还有能力完善自我,创造奇迹。人文主义遍布英国思想领域的。标志是荷兰学者伊拉斯谟先后到牛津大学与剑桥大学讲授古典文化研究。托马斯·漠尔、克利斯朵夫·马洛和威廉·莎士比亚是英国人文主义的代表。

文艺复兴时期的英国文学简介

第二讲英国“文艺复兴”文学 2.1 文艺复兴 “文艺复兴”作为一场席卷欧洲的文化运动标志着欧洲从中世纪走向现代的转折。始于14世纪的意大利，以美术、雕塑、文学艺术等的繁荣为标志，经由中欧、法国，最后传到不列颠。“复兴”在这里指对欧洲古典即古希腊古罗马时期的艺术的重新挖掘和张扬，是指欧洲的文艺经过漫长中世纪基督教神学一统天下的黑暗时代后又重新恢复了古典时代的辉煌。在英国，“文艺复兴”运动主要表现为都铎王朝时期文学的繁荣。代表人物莎士比亚。 欧洲文艺复兴运动的历史背景包括政治、经济、宗教、科技、文化等诸多方面，这些因素互相推动，它们根植于中世纪，却又共同从成了一种与中世纪决裂的历史局面。 首先是对古希腊古罗马文化的重新发现。 地理和科学的新发现。哥伦布达伽马 16世纪德意志神学家马丁路德发起宗教改革 文艺复兴主要体现在2个方面：人文主义的张扬；基督教神学的改革。 2.2 英国文艺复兴 根据文坛和文学创作所呈现出的不同特点，英国文艺复兴可以分为3个主要阶段: 第一，15世纪末---16世纪前半叶，复兴初期，研究古希腊罗马哲学，印刷术传入英国推动了人文主义文化的传播。 代表：托马斯莫尔《乌托邦》 第二，伊丽莎白时代，英国文艺复兴的鼎盛时代。 代表：莎士比亚的戏剧和斯宾塞的诗歌 第三，从莎士比亚去世到17世纪中期。英国文艺复兴的晚期，运动逐渐走向低落。 代表：哲学家及散文家弗兰西斯培根 文艺复兴时期英国文学的主要特征是诗歌和戏剧成为英国文坛的主流。 2.3代表作家及作品 2.3.1 托马斯莫尔（Thomas More） 出生于中产阶级家庭，其父为皇家法官。希望其成为律师 1504，26岁成为下院议员。反对亨利七世，退出政坛。 15.9，亨利八世即位，恢复政治生涯，次年被委派位伦敦助理行政官，官至财政部长，下议院议长和帝国大法官。 因反对亨利八世与教会对抗被斩首。

文艺复兴时期服饰

文艺复兴时期服饰 文艺复兴开始于意大利，这一文化运动于15世纪后半期扩及欧洲许多国家，16世纪达到高潮。随着禁欲主义的的衰落，人文主义又复兴了，在服饰上体现为：男子服饰强调上体的宽大魁伟和下体的瘦劲，构成箱形造型；女子服饰强调细腰丰臀，形成倒扣的钟式造型，同时出现了宽大的袒胸低领口，并不再羞羞答答用饰布遮住。 文艺复兴时期服饰分为; 一、意大利风格时期服饰（1450年—1510年） 二、德意志风格时期服饰（1510年—1550年） 三、西班牙风格时期服饰（1550年—1620年） 一、性质：是一场资产阶级文化运动。核心：人文主义精神，人文主义精神的核心是以人为本。产生的根本原因：生产力的发展，资本主义萌芽的出现。本质：正在形成中的资产阶级在复兴希腊罗马古典文化的名义下发起的弘扬资产阶级思想和文化的运动。产生于意大利的原因： ①中世纪的欧洲，贸易中心集中在地中海沿岸，意大利最早产生资本主义的萌芽，资产阶级希望冲破教会神学的束缚。②意大利保有大量古希腊、罗马文化典籍。③14-17世纪（文艺复兴时期）意大利人才济济，汇集一处。④意大利处于丝绸之路的重要路段，较早接受了东方文化。（造纸术，印刷术） 二、文学三杰 但丁彼特拉克薄伽丘 美术三杰 １达·芬奇２拉斐尔３米开朗基罗 三、箍裙束身 1. 文艺复兴时期服饰发展的三个阶段及各阶段的特点： 意大利式时期特点：内衣部分地从外衣缝隙处露出，与表面华美的织锦布料形成对比，进一步衬托出美丽的布料。 男装普尔波安：工艺和服装结构三大显著特点：一绗缝，用倒针法；二是前开；三是改变了中世纪袍服的裁剪方式。 分体式女袍：外规似上下相连，腰部有接缝。 德意志式时期特点：切口服装、用裘皮作为衣领或服装缘边的装饰方法 切口服装也叫雇兵步兵风格，原意是用刀、剑等乱砍、劈刺、割伤等，引伸为切口、裂缝、开衩，或开缝于衣服上的装饰。 西班牙时期特点：追求极端的奇特造型和夸张的表现，缝制技术高超。 皱领的流行：闭口式轮状，敞口式立领，披肩式。紧身胸衣：鲸须胸衣，布纳胸衣。撑裙：吊钟式箍撑裙，环轮形箍撑裙 袖子根据填料不同造型可分为：泡泡袖，羊腿袖，悍妇袖

文艺复兴时期英国文学概述

文艺复兴时期英国文学概述 文艺复兴时期文学（15世纪后期-17世纪初） 相对于欧洲其他国家来说，英国的文艺复兴起始较晚，通常认为是在15世纪末。文艺复兴时期形成的思想体系被称为人文主义，它主张以人为本，反对中世纪以神为中心的世界观，提倡积极进取、享受现世欢乐的生活理想。托马斯·莫尔（Thomas More， 1478-1535）是英国最主要的早期人文主义者，他的《乌托邦》（Utopia）批评了当时的英国和欧洲社会，设计了一个社会平等、财产公有、人们和谐相处的理想国。Utopia现已成为空想主义的代名词，但乌托邦是作者对当时社会状况进行严肃思考的结果。《乌托邦》开创了英国哲理幻想小说传统的先河，这一传统从培根的《新大西岛》（The New Atlantis）、斯威夫特的《格列佛游记》（Gulliver's Travels）、勃特勒的《埃瑞璜》（Erewhon）一直延续到20世纪的科幻小说。文艺复兴时期诗歌创作繁荣，埃德蒙·斯宾塞（Edmund Spenser， 1552-1599）的长诗《仙后》（The Faerie Queene）歌颂女王，宣扬人文主义思想。他创造的"斯宾塞诗体"每节诗有九行，韵律复杂，具有柔和动听、萦绕耳际的音乐性。弗兰西斯·培根（Francis Bacon， 1561-1626）是这一时期最重要的散文家，他对文学的主要贡献是《论说文集》（Essays），共58篇。这些文章题材广泛，内容涉及哲学、宗教、政治制度以及婚姻、爱情、友谊、园艺、读书等，文笔典雅，略带古风而又明白畅达。英国戏剧起源于中世纪教堂的宗教仪式，取材于圣经故事的神秘剧和奇迹剧在14、15世纪英国舞台上占有主导地位，随后出现了以抽象概念作为剧中人物的道德剧。到了16世纪末，戏剧进入全盛时期。克里斯托弗·马洛（Christopher Marlowe， 1564-1593）冲破旧的戏剧形式的束缚，创作了一种新戏剧。《帖木儿大帝》（Tamburlaine）、《浮士德博士的悲剧》（The Tragical History of the Life and Death of Dr. Faustus）、《马耳他岛的犹太人》（The Jew of Malta）等剧作反映了文艺复兴时期那种永无止境的探索精神和极端的个人主义精神。马洛将戏剧情节集中于一个主要角色的做法、他对人物性格的分析以及他的素体诗戏剧对白，对英国戏剧的发展做出了不可磨灭的贡献。 英国文艺复兴时期最杰出的作家是威廉·莎士比亚（William Shakespeare， 1564-1616），他的全部作品包括两首长诗，154首十四行诗和38部（一说39部）戏剧。莎士比亚的主要剧作有喜剧《仲夏夜之梦》（A Midsummer Night's Dream）、《威尼斯商人》（The Merchant of Venice），悲剧《罗密欧与朱丽叶》（Romeo and Juliet）、《哈

英国文艺复兴时期

Chapter I The Renaissance Period (一) 文艺复兴时期概述 1. 识记：（1）文艺复兴时期的界定 （2）历史文化背景 2. 领会: （1）文艺复兴运动的意义与影响 （2）文艺复兴时期的文学特点 （3）人文主义的主张及对文学的影响 3. 应用：文艺复兴，人文主义及玄学诗等名词的解释 I. 应用 Definitions of the Literary Terms: 1. The Renaissance: The Renaissance marks a transition from the medieval to the modern world. Generally, it refers to the period between the 14th & 17th centuries. It first started in Italy, with the flowering of painting, sculpture & literature. From Italy the movement went to embrace the rest of Europe. The Renaissance, which means "rebirth" or "revival," is actually a movement stimulated by a series of historical events, such as the re-discovery of ancient Roman & Greek culture, the new discoveries in geography & astrology, the religious reformation & the economic expansion. The Renaissance, therefore, in essence is a historical period in which the European humanist thinkers & scholars made attempts to get rid of those old feudalist ideas in medieval Europe, to introduce new ideas that expressed the interests of the rising bourgeoisie, & to recover the purity of the early church from the corruption of the Roman Catholic Church. 2. Humanism: Humanism is the essence of the Renaissance. It sprang from the endeavor to restore a medieval reverence for the ancient authors and is frequently taken as the beginning of the Renaissance on its conscious, intellectual side, for the Greek and Roman civilization was based on such a conception that man is the measure of all things. Through the new learning, humanists not only saw the arts of splendor and enlightenment, but the human values represented in the works. Renaissance humanists came to see that human beings were glorious creatures capable of individual development in the direction of perfections, and that the world they inhabited was theirs not to despise but to question, explore, and enjoy. Thus, by emphasizing the dignity of human beings and the importance of the present life, they voiced their beliefs that man did not only have the right to enjoy the beauty of this life, but had the ability to perfect himself and to perform wonders. 3. Spenserian stanza: Spenserian stanza was invented by Edmund Spenser. It is a stanza of nine lines, with the first eight lines in iambic pentameter & the last line in iambic hexameter, rhyming ababbcbcc. ？ 4. Metaphysical poetry: The term "metaphysical poetry" is commonly used to name the work of the 17th century writers who wrote under the influence of John Donne. With a rebellious spirit, the metaphysical poets tried to break away from the conventional fashion of the Elizabethan love poetry. The diction is simple as compared with that of the Elizabethan or the Neoclassic periods, and echoes the words and cadences of common speech. The imagery in drawn from the actual life. The form is frequently that of an argument with the poet's beloved, with God, or with himself. 5. The Renaissance hero: A Renaissance hero refers to one created by Christopher Marlowe in his drama. Such a hero is always individualistic and full of ambition, facing bravely the challenge from both gods and men. He embodies Marlowe's humanistic ideas of human dignity and capacity. Different from the tragic hero in medieval plays, who seeks the way to heaven through salvation and god's will,

英美文学选读-英国-文艺复兴时期-练习题汇总

英美文学选读选择题 1. _______, a typical example of Old English poetry, is regarded as the national epic of the Anglo-Saxons. A. The Canterbury Tales B. Exodus C. Beowulf D. The Legend of Good Women 2. The work that presented, for the first time in English literature, a comprehensive realistic picture of the medieval English society and created a whole gallery of vivid characters from all walks of life is most likely ______________. A．William Langlan d’ s Piers Plowman B．Geoffrey Chaucer’s The Canterbury Tales C．John Gower’s Confession Amantis D．Sir Gawain and the Green Knight 3. With classical culture and the（）humanistic ideas coming into England, the English Renaissance began flourishing. A. French B. German C. Italian D. Greek 4. During the reign of_______, England started its Religious Reformation and broke away from Rome. A. Henry VII B. Henry VIII C. Edward VI D. Queen Elizabeth 5. The Protestant movement, which was seen as a means to recover the purity of the early church from the corruption and superstition of the Middle Ages, was initiated by _______. A. Francis Bacon B. Martin Luther C. Thomas More Utopia D. William Shakespeare 6．The Renaissance is actually a movement stimulated by a series of historical events EXCEPT_________. A．the rediscovery of ancient Roman and Greek culture B．the vast expansion of British colonies in North America C．the new discoveries in geography and astrology D．the religious reformation and the economic expansion 7. In Renaissance, the European humanist thinkers and scholars made attempts to do the following EXCEPT ______. A. getting rid of those old feudalist ideas B. getting control of the parliament and government C. introducing new ideas that expressed the interests of the rising bourgeoisie D. recovering the purity of the early church, from the corruption of the Roman Catholic Church 8. Which of the following is NOT regarded as one of the characteristics of Renaissance humanism? A. Cultivation of the art of this world and this life.

文艺复兴时期英国文学

文艺复兴时期英国文学 1. What is Renaissance? How and why did it come about? 2. What is the development of drama? What were the original forms and content and practice of drama? 3. Why did drama flourish in Elizabethan age? Who are the major playwrights of the time? 4. Who is Marlowe? What contributions did he make to English drama? 5. Who is Shakespeare? What famous and great plays (history, comedy, tragedy)? What features? 6. What did Ben Jonson write about? What representative work? 7. Prepare the excerpt from Hamlet (31-32). What is it mainly about? What humanist idea can you find in the soliloquy? 8. What was the most important translation of the time? Reference questions on Shakespeare and Hamlet 1. Why is Shakespeare an eternal subject of study? Where lies his greatness? 2. What are the themes of Hamlet? 3. What is the significance of Hamlet as a character? 4. What is blank verse? 5. What is soliloquy? Text study 1 Hamlet’s soliloquy “To be or not to be” 1. What is the main idea of Hamlet’s soliloquy? Summarize in one or two sentences the main idea of the soliloquy? 2. How does the soliloquy reflect the spirit of the time or the idea of humanism? 3. How do you analyze Hamlet’s argument in terms of structure? Text study 2 The Merchant of Venice / The Trial Scene Pre-reading The most interesting character in this play is Shylock. Some people think him as a cruel miser, deserving his punishment while others consider him a victim of discrimination. From what you know of the play, what do you think of this character? To what extent does this character deserves our sympathy? Discuss with your classmates. Discussion 1. After reading the “trial scene”, have you changed your idea about Shylock? Refer to the questions in Pre-reading, and try to defend your position with evidence from the text. 2. Portia gives an eloquent speech on mercy when she tries to persuade Shylock to give up his bond. Consider the punishment received by Shylock, do you think the Christians are being merciful to Shylock?

文艺复兴时期服装看社会

论《另一个波林家的女孩》服装看欧洲十六世纪文艺复兴 时期 摘要：从十六世纪开始在文艺复兴的影响下，贵族服饰就呈现出了修身而惊艳的风格，男人开始呈现阳刚之气，女人则用上了裙环，；十七世纪，几场战争把一身男人变成了衣服上装饰蕾丝的绅士。300年来，他们涂脂抹粉，穿着紧身衣，衬衫的出现。整整三个世纪精致奢华的衣着备受追捧，弗朗索瓦一世宫廷阳刚华丽的时尚到凡尔赛宫紧身衣，假发和精美蕾丝的流行，“自然”一词已被人们深深遗忘，中世纪简单的风格已不复存在。 《另一个波林家的女孩》讲述的是十六世纪初英国国王亨利八世一段香艳而“肮脏”的历史，国王被大臣的妻子玛丽?波林的美貌所倾倒，暗中威逼利诱，成了他的情妇，就在玛丽怀上龙骨之时，她的姐姐伊丽莎白一世的母亲安妮?波林不惜以牺牲色相谋皇宠。 经过精心布局如愿封后，而玛丽只能以“另一个波林家的女孩”的卑微的躲在姐姐身后苟延残喘……可悲的是安妮未能生下男孩且被亨利八世下令砍头处死。 关键词：文艺复兴紧身胸衣拉夫领裙撑填充装饰 引言：欧洲文艺复兴时期突出表象为服装向文化靠近与倾向。在那之前男性已经穿着了一个多世纪的紧身上衣，与女装有着显著的区别，文艺复兴不仅是古典文化的复兴，也是对其当时服装的一次更新，虽然在发展过程中有矛盾性，也依然掩盖不了15世纪和16世纪服装文化四射的光彩。而亨利八世也就是《另一个波林家的女孩》正处于16世纪时期，文艺复兴达到盛期，这个世纪的服装具有鲜明的特征，至此以后产生了久远的历史影响。

一．由文艺复兴开始的复古时期 （图为波林一家） 1.文艺复兴时期，人们追求个性，反对宗教的束缚，禁欲主义被打破。男子下衣紧裹肢体，上衣宽大雄伟，突出阳刚之美；女子强调细腰丰乳和肥臀，上衣袒胸低领，下裙硕大夸张。这种于上下分开的衣裤或衣裙组合代替了包裹全身的衣袍，衣服的裁剪出现革命性的变化，三维立体剪裁法表现了人体的美和性别的差异。 2.文艺复兴早期在意大利人们穿着宽松系带外衣，长及小腿肚的服式，早期袖口肥大，袖筒像个袋子，衣领略低。传统紧身长衣又一度流行，并在年轻人那里将衣身逐步缩短，有些与裤子几乎成相接的趋势了。 在法国宽身系带长衣的变化是双肩部位更加宽大，内装填充物，双肩至腰部都是呈斜向的皱褶。法国女服中发网最引人注目。发网的质料和装饰不同，借以区分出身份和富有程度。 在德国和西班牙，因为各种政治同盟的出现，黑色服装开始流行，笃信天主教的皇帝查理五世将黑色套装作为宫廷优雅的象征，而宗教改革的追随者接纳了这种阴沉的服装并将其视为新教徒的象征。 威尼斯独立于欧洲宫廷之外的地位，也体现在服装上。威尼斯人偏爱纯白，或是金白相间的天鹅绒，比起紧裹的西班牙式衣领和僵硬的铁制胸衣，她们更喜欢低胸裙装来炫耀胸部。 二、复古盛期的男女服饰 1.文艺复兴16世纪的服装，有几个突出的造型。 切口装饰：瑞士雇佣兵从战死敌军身上撕下衣料给自己的制服打补丁无意中开创了拼色装饰的风潮短短数年内条形切口拼色装饰成为了风靡欧洲的时尚。这种在外衣上剪开许多切口，形成对比，达到奢华和新奇的装饰效果，在德国尤为盛行。

The Renaissance英国文学文艺复兴时期总结

The Renaissance This is a greatest and most advanced revolution in the human history. This is the age the giants are needed and produced. ------F. Engles <1> Brief introduction ?Renaissance in European history, refers to the period between 14th century to 17th century. It started in Italy and ended in England and Spain. ?“Renaissance” means “revival”, the revival of interest in Ancient Greek and Roman culture and getting rid of conservatism in feudalist Europe and introducing new ideas that express the interests of the rising bourgeoisie. ?Renaissance sprang first in Italy (Florence and Venice) with the flowering of paintings, sculpture and architecture, and gradually spread all over Europe; ?Renaissance originally indicated a revival of classical arts and science (ancient Greek and Roman culture) after the dark ages of medieval obscurantism. During the period of Renaissance: 1. the Roman Catholic Church was shaken, 2. old sciences revived and new sciences emerged, 3. national languages and cultures took shape, 4. art and literature flourished Brief introduction ?There arose an interest in the manuscripts surviving from ancient Greece and Rome. Classical learning and philosophy were enthusiastically studied. ?The intellectual wisdom of ancient Greece and Rome encouraged a rebirth of human spirit，a realization of human potential for development and creation． ?Never before in human history were men and women so eager to create and discover something new．In Italy a group of artists，scientists，politicians，and writers created the most brilliant page of culture and science in Renaissance Europe． Examples: ①Copernicus (哥白尼) asserted that the earth was not the center of the universe； ②The passionate Petrarch produced sonnets that influenced Shakespeare and many others； ③Boccaccio(卜伽邱) wrote tales of eternal charm: The Decameron； ④Marco Polo (马可波罗) made journeys into the remote kingdom of China； ⑤Michelangelo（米开朗琪罗），Leonardo da Vinci (达芬奇)，Raphael (拉斐尔)，and Titian (提香) created paintings and sculptures that are invaluable treasures of the world． <2>Essence and features ?Essence: It is the reflection of the rise of bourgeoisie in the sphere of cultural life. （另版本）：Renaissance, in essence, is a historical period in which the European humanist thinkers and scholars made attempts to: to get rid of conservatism in Feudalist Europe; to introduce new ideas that expressed the interests of the rising bourgeoisie, to lift the restrictions in all areas placed by the Roman church authorities. Briefly it is the reflection of the rise of bourgeoisie in the sphere of cultural life. ?Features: there are two striking features ①A thirsting curiosity for the classical literature.

英美文学选读-英国-文艺复兴时期-练习题汇总(选择大题)

I．Multiple Choice Old and Medieval Period 1. ____ Beowulf ___, a typical example of Old English poetry, is regarded as the national epic of the Anglo-Saxons. A. The Canterbury Tales B. Exodus C. D. The Legend of Good Women 3. The work that presented, for the first time in English literature, a comprehensive realistic picture of the medieval English society and created a whole gallery of vivid characters from all walks of life is most likely __ B．Geoffrey Chaucer’s The Canterbury Tales____________. A．William Langland’ s Piers Plowman C．John Gower’s Confession Amantis D．Sir Gawain and the Green Knight 2.Among the great Middle English poets, Geoffrey Chaucer is known for his production of ___. A.Piers Plowman B.Sir Gawain and the Green Knight C.Confessio Amantis D.The Canterbury Tales 1. ____ A. B. George Gordon Byron C. Edmund Spenser D. Robert Browning 1.Romance,which uses narrative verse or prose to tell stories of B.

欧洲文艺复兴论文设计

文艺复兴时期人文主义思想及其历史影响 苏科电子1211yuexin 摘要: 人文主义是欧洲文艺复兴时期的主要思潮和指导思想,是早期资产阶级在反封建、反教会斗争中形成的思想体系。人文主义反对一切以神为本的旧观念,宣扬人是万物之本,用“人权"对抗“神权"向中世纪的教会统治和宗教教义提出了挑战。它突破了中世纪基督教对人们思想的控制,唤醒了人们的进取精神和创造精神,从而在思想方面为资本主义制度的确立开辟了道路。 关键词: 文艺复兴；人文主义；科学精神；理性 一、简单介绍下文艺复兴 文艺复兴是14世纪中叶至归6世纪在欧洲发生的一场思想文化运动,标志着人类从中世纪迈进了近代历史。在这场以思想解放为主旋律的运动中,新兴资产阶级在古典文化的启迪下,用以人为核心的崭新的意识形态反对以神为中心的陈腐意识形态,用新的文化取代了以天主教神学为主导的封建旧文化,用对主客观世界及其联系的直接体验和深层思考打破了蒙昧主义的桎梏文艺复兴在历史上的进步作用。恩格斯写道:“这是次人类从来没有经历过的最伟大的进步的变革,是 个需要巨人而且产生了巨人——在思维能力、热情和性格方面,在多才多艺和学识渊博方面的巨人的时代。”

文艺复兴的含义可以从以下几个方面理解：“复兴”——再生，重新获得新的生机，也就是说西方文明到了文艺复兴这个时期获得了一个新的生机，进入了一个新的阶段。我们通常说的西方文明的文艺复兴，是指14——16世纪，起源于意大利，接着发展到欧洲各国的思想文化运动。什么的复兴，什么的重新获得新的生机？文艺复兴这个时期，一批学者开始搜集整理古希腊的文献（亚里士多德、柏拉图等一些哲学家的重要著作）和一些重要的文化思想遗产进行新的整理、注释，因为这个工作，我们称作“文艺复兴”。实质是通过对古希腊文化的复兴倡导了一种人文主义运动。 二，欧洲文艺复兴的社会背景： ①经济：首先兴起于意大利，因为意大利最早产生资本主义萌芽，特别是意大利北部和中部的一些城市，在14世纪已经出现了具有资本主义雏形的手工业，随着资本主义日趋繁荣，商人队伍的日益壮大，他们逐渐成为早期的资产阶级。 ②文化：早先诺曼人攻克希腊港口城市萨洛尼卡卖了许多书给意大利人，意大利人购得的古希腊手稿数以万计。后来十字军攻占君士坦丁堡时候，侵略者与意大利人进行手稿交易。因此威尼斯商船从拜占庭返航时候带回许多的古籍和抄本。拜占庭灭亡以后，更多的希腊罗马古典文化流入到意大利。 ③宗教：中世纪的宗教文化强调神权至上，宣扬人们要禁欲赎罪。它认为人生下来就是有罪的，人的一生就是为赎罪而活的。人们只有通过禁欲和教会圣礼才能赎罪。它让人们追求来世而不是现世。此外，

英国文学史文艺复兴时期复习资料

The Renaissance Time: 1500–1660 The English Renaissance was a cultural and artistic movement in England dating from the late 15th and early 16th centuries to the early 17th century. Backgrounds: Following the introduction of a printing press into England by William Caxton in 1476, vernacular literature flourished The Reformation（宗教改革）inspired the production of vernacular（白话的）liturgy（祈祷书）which led to the Book of Common Prayer（英国国教教会祈祷书）, a lasting influence on literary language. Representatives: Poets: Edmund Spenser ( 1552–1599) Works: The Faerie Queene Epithalamion Amoretti William Shakespeare Works: Sonnet 18 A Lover's Complaint The Phoenix and the Turtle Sir Philip Sidney(1554–1586) Works: Astrophel and Stella The Defence of Poetry(essay) The Countess of Pembroke's Arcadia (Prose) Blank verse:blank verse is poetry written in unrhymed iambic pentameter Sonnet:a poem of fourteen lines that follows a strict rhyme scheme and specific structure. A Shakespearean, or English, sonnet consists of fourteen lines written in iambic pentameter, a pattern in which an unstressed syllable is followed by a stressed syllable five times. The rhyme scheme :a-b-a-b, c-d-c-d, e-f-e-f, g-g three quatrains and one couplet. A Italian sonnet includes two parts that together formed a compact form of "argument". First, the octave (two quatrains), forms the "proposition", which describes a "problem", or "question", followed by a sestet (two tercets), which proposes a "resolution". Typically, the ninth line initiates what is called the "turn", or "volta", which signals the move from proposition to resolution. The rhyme scheme:a-b-b-a, a-b-b-a,c-d-e-c-d-e or a-b-b-a, a-b-b-a, c-d-c-c-d-c Dramatist: Christopher Marlowe Doctor Faustus William Shakespeare Four comedies: A Midsummer Night's Dream《仲夏夜之梦》Merchant of Venice 《威尼斯商人》As You Like It《皆大欢喜》Twelfth Night《第十二夜》Four tragedies: Hamlet《哈姆雷特》Othello《奥赛罗》Macbeth《麦克白》King Lear《李尔王》