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Abstract Victor Hugo promotes the literary ideas that the romantic aesthetic ideas “beauty and ugliness in contrasts” and classical aesthetic ideas. This claim through the contrasts of good and evil, beauty and ugliness to highlight effectively the contradiction between these two, form great contrasts to reveal deeply the essence of things, in characterization also makes characters more vivid and truer.
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Notre-Dame de Paris shows the beauty and ugliness between the contrasts among main characters and personalities. And these two contrasts can be reflected from beauty and ugliness of Gypsy Esmeralda, Quasimodo, Pierre Gringoire, Phoebus, Claude Frollo, and the inner contrasts of the two central figures Gypsy Esmeralda and Claude Frollo before and after. Hugo uses varied contrast techniques of positive characters and negative characters, organizes varied circumstances of enjoyable plots, miserable desolate plots and ridiculous plots, shapes the colorful characters image. By means of such strong contrasts show the author's aesthetic ideas and humanitarian ideas, reveal and deepen the theme.
This paper takes Hugo’s long novel Notre-Dame de Paris as the main research object. Through in-depth text analysis, the author pides this paper into four parts. The first part is the introduction. This section focuses on Hugo’s status in the history of the world literature, as well as studies of Hugo, especially the studies of Notre-Dame de Paris at home and abroad and introduces Hugo’s contrast principle and the contrast of social background. The second part is the contrast of all figures in this novel. This section is focuses on the contrast between Gypsy Esmeralda and other protagonists. The third part is the inner contrast of Gypsy Esmeralda and Claude Frollo. This section focuses on the shaping of these two figures and the changes in personality. The last part is the conclusion.
Key Words: Victor Hugo; Notre-Dame de Paris; the contrast principle; the contrast of the social background; the contrast between the personalities of all the central figures
摘要
雨果提倡的“美丑对照”的浪漫主义美学主张是与古典主义相对的文学主张。这种主张是通过善与恶、美与丑的对比，来有效突出两者的矛盾，构成巨大的反差从而更为深刻地揭示事物的本质，在人物塑造上也使得人物形象更加生动、真实。
作品《巴黎圣母院》中的美丑对照主要表现为人物之间的美丑对比和人物自身内部的美丑对照。而这两种对照又是以爱斯美拉达与卡西莫多、甘果瓦、弗比斯、克洛德这几个主要人物的美丑对照来体现，并附以爱斯美拉达与克洛德两个中心人物的内心前后的美丑善恶对比。在作品中雨果运用了多变的对照手法，既有正面人物的对照，又有反面人物的对照；组织丰富多变的情节，既有令人愉悦的情节，也有悲苦凄凉的情节和荒诞可笑的情节；塑造了性格鲜明的人物形象，借助于这种强烈的对比，表现了作者的美学主张和人道主义思想，揭示和深化了作品主题。
本毕业论文以雨果的长篇小说《巴黎圣母院》为主要研究对象。通过深入的文本分析，作者将本文分为四个部分。第一部分是绪论。本节着重介绍了雨果在世界文学史的地位以及雨果的研究，特别是国内外对《巴黎圣母院》的研究，并且介绍了雨果的对比原则和社会背景的对比。第二部分是分析了这部小说中的所有人物的对比。此部分着重于艾斯梅兰达和其他主角之间的对比关系。第三部分是艾斯梅兰达和克劳德自身前后时期的对比。本节着重塑造的这两个人物前期和后期的个性变化。最后一部分是结论。
关键词：雨果,《巴黎圣母院》,美丑对照原则,社会背景的对比,人物形象的对比5323
CONTENTS
Acknowledgements...i
Abstractii
摘要.iii