英国考文垂作业代写 公共道德

Keywords:英国考文垂作业代写 公共道德

因此，在《第三部分》中，里昂显然是在引诱爱玛，这一著名的场景被发现对公共道德来说是如此的不可容忍，以至于巴黎的Revue de Paris对它进行了审查。正如哈里·莱文所观察到的，“当小说家没有安排美德的胜利，也没有改变人物的行为以迎合读者的道德偏见时，他们就会让他为自己试图描述的不道德行为负责。”格伦迪夫人把“现实”等同于“色情”。[7]事实上，这种含沙示人的文字，在图书馆的辅助下，几乎全部由女性来阅读，被当时的许多批评家，包括马克思-阿维林，认为是最不道德的。同样，易卜生在他的《玩偶之家》一书中，也因抨击婚姻制度而受到批评家的谴责。19世纪的公众从道德的角度批评诺拉，从文学的角度批评易卜生，认为他们超越了文学的界限。在第一幕中，娜拉带着圣诞购物袋和一袋被禁的马卡龙回家:“娜拉，藏起来……(她把马卡龙放进口袋，擦了擦嘴)……”诺拉:不，托瓦尔德，我发誓’(147-150页)。[8]不服从她的丈夫，即使是偷偷吃马卡龙这样微小的方式，也向易卜生的中产阶级听众暗示了娜拉从一开始就是不诚实的，而不祥的动词“隐藏”则暗示了这种蔑视和不道德。对大多数中产阶级评论家来说，《玩偶之家》是对声音艺术的颠覆，因为它描绘了一个不服从的女人。此外，诺拉伪造她父亲的签名借钱是父权社会中一个深刻的越轨例子。林德:不，没有丈夫的允许，妻子是不能得到贷款的。诺拉:(晃了晃脑袋)嗯，但是一个有商业头脑的妻子，一个知道如何变得聪明一点的妻子……坐着工作挣钱也很有趣。几乎像个男人。
英国考文垂作业代写 公共道德
Consequently, the famous scène du fiacre of part three, in which Leon apparently seduces Emma, was found so outrageous to public morality that the Revue de Paris censored it. As Harry Levin observes, ‘when the novelist has not arranged for the triumph of virtue or modified the conduct of his characters to suit the ethical prepossessions of his readers, they have held him responsible for immoralities which he has simply attempted to describe. Mrs Grundy equated “realistic” to “pornographic”’.[7] Indeed, such insinuating texts, aided by circulating libraries and read almost exclusively by women, were thought by many contemporary critics, including Marx-Aveling, to be the most immoral.Similarly, Ibsen, in his A Doll’s House, was condemned by critics for attacking the institution of marriage. The nineteenth-century public criticised Nora on moral grounds and Ibsen on literary ones, for having overstepped the limits literature allowed. In act one, Nora returns home with her Christmas shopping and a forbidden bag of macaroons: ‘Nora: hide… (She puts the bag of macaroons in her pocket and wipes her mouth)…Helmer: You’re sure that sweet tooth didn’t make a little stop at the bakery? Nora: No, Torvald, I swear’ (pp. 147-150).[8] Disobeying her husband even in such a minute way as secretly eating macaroons suggested to Ibsen’s bourgeois audience that Nora was deceitful from the very start, and the ominous verb ‘hide’ was indicative of such defiance and immorality. A Doll’s House was, for most middle-class critics, a subversion of sound art in its presentation of an insubordinate woman. Additionally, Nora forging her father’s signature to borrow money was a profound example of transgression within patriarchal society: ‘Mrs. Linde: No, a wife can’t get a loan without her husband’s permission. Nora: (Tossing her head) Well, but a wife with a head for business, a wife who knows how to be a little clever…it was also great fun, sitting and working and earning money like that. Almost like being a man’