种族身份、道德主体与救赎的哲学意义——评《勋伯格与救赎》  

Racial Identity,Moral Subject and the Philosophical Significance of Redemption——Review on Schoenberg and Redemption

作　　者：章馨方 ZHANG Xinfang

机构地区：[1]江苏师范大学音乐学院,徐州221018

出　　处：《黄钟（武汉音乐学院学报）》2020年第4期148-159,164,共13页Huangzhong:Journal of Wuhan Conservatory of Music

基　　金：教育部人文社科青年基金项目《汉语语境下音乐修辞视阈的作品分析研究》(项目编号:18YJC760139)成果。

摘　　要：朱莉·布朗(Julie Brown)的《勋伯格与救赎》(Schoenberg and Redemption)是极少采用宽广的学术视阈对勋伯格无调性写作实践进行全面探讨的学术成果之一。文章着重评述该书中涉猎的三个研究范畴:勋伯格作为犹太人的种族身份与其意识形态中认同日耳曼文化的矛盾,艺术宗教观念下勋伯格作为基督的象征性隐喻,以及无调性音乐与女性救赎的关系。种族身份与文化认同的不一致作为勋伯格内心矛盾的根源,为其追求无调性写作的救赎野心提供内在动因。在艺术宗教的象征性符号下,女性形象与无调性音乐语言的结合使得性别在意识形态中得以承载救赎的意义。Julie Brown’s Schoenberg and Redemption is one of the academic achievements that rarely uses a broad perspective to comprehensively explore Schoenberg’s practice of atonal music.This article focuses on the three research areas involved in the book:Schoenberg’s racial identity as a Jew and the contradiction between his ideology with deutsch culture,Schoenberg’s symbolic metaphor of Christ under the concept of art and religion,and the relationship between atonal music with female redemption.The inconsistency between racial identity and cultural identity serves as the source of Schoenberg’s contradictions,and provides the inner motivation for his original redemptive ambition to pursue atonal music.Under the symbolic signs of art and religion,the combination of female images and atonal musical language enables gender to carry the meaning of redemption in ideology.

关 键 词：勋伯格 无调性 救赎 种族 女性隐喻 

分 类 号：J605[艺术—音乐] J609