历史·当代·叙事——谈诺曼·莱布雷希特与《为什么是马勒?——一个人和十部交响曲如何改变我们的世界》  

History·Contemporary·Narration--Discussion on Norman Lebrecht and Why Mahler?How one Man and Ten Symphonies Changed the world

作　　者：张晨[1] ZHANG Chen

机构地区：[1]沈阳音乐学院音乐学系,辽宁沈阳110006

出　　处：《艺术探索》2021年第1期84-90,共7页Arts Exploration

基　　金：2019年度沈阳音乐学院院级课题“历史·当代·叙事--谈诺曼·莱布雷希特《为什么是马勒?》的写作特质”(2019YLQ05)。

摘　　要：20世纪60年代后现代文本理论的旋风席卷过后,历史书写的视角发生了转变,读者中心论作为新视角被强势提出,作者、文本、读者之间的关系与各自的独特性引导了新时期的学术发展。作为一位身处后现代思潮下的学者,英国音乐批评家诺曼·莱布雷希特以独特的视角、犀利的笔锋著称。他的古典乐评、随笔、小说相继问世,尤其是在近年大作《为什么是马勒?——一个人和十部交响曲如何改变我们的世界》中提出诸多耐人寻味的问题,让人反思当代文史写作的立足点,以及历史和史料的关系、过去向当代的转换、发出者与接受者之间的对接。After the whirlwind of post-modern text theory swept through in the 1960s,the perspective of historical writing has changed.Reader-centred theory has been strongly proposed as a new perspective,and the relationship between the author,text,and reader and their uniqueness have led Academic development in the new era.As a scholar living in the postmodern trend,British music critic Norman Lebrecht is known for his unique perspective and sharp writing style.His classical music reviews,essays,and novels have come out one after another,especially in the recent masterpiece Why Mahler?How one Man and Ten Symphonies Changed the world,which he raises many intriguing questions,makes people reflect on the foothold of contemporary literary and historical writing,as well as the connection among the relationship between history and historical data,the transformation from the past to the present,the sender and the receiver.

关 键 词：诺曼·莱布雷希特 《为什么是马勒?》 史学 批评 文本意义 

分 类 号：J605[艺术—音乐]