乔伊斯音乐叙事形式的动态发展:分离、模仿、融合  

Development of James Joyce's Musicalized Narrative Form:Separation,Imitation,and Fusion

作　　者：宣奔昂 Xuan Ben’ang(Department of English,Peking University,Beijing,China)

机构地区：[1]北京大学外国语学院,北京100871

出　　处：《外国文学》2021年第6期166-178,共13页Foreign Literature

摘　　要：乔伊斯作品中的音乐一直颇受国内外学界关注,但以往的研究聚焦于音乐在《尤利西斯》和《芬尼根的守灵夜》这两部小说里的作用,忽略了乔伊斯早期创作的诗集《室内乐》和故事集《都柏林人》的音乐叙事模式。通过分析《作别少女时光》及乔伊斯对其的教会调式谱曲,《死者》对双声部音乐结构的模仿,以及《塞壬》以声音为媒介将多种音乐、文化意涵植入书写语言的过程,可以揭示乔伊斯的音乐叙事如何呈现出分离、模仿、融合的动态形式变化,以及他如何利用三篇音乐叙事各自的多线程和开放性,在求欢和爱情的表面下构造矛盾和背叛的暗流,层层递进地表现出现代人良心的瘫痪与精神的死亡。Music in James Joyce's works has long been the subject of contentiousdebate,but previous studies have mostly focused on music in Ulysses and Finnegans Wakeand overlooked musical models of narrativity in Joyce's earlier works,Chamber Music andDubliners.By analyzing Joyce's poem"Bid Adieu to Girlish Days"alongside his church-mode composition,the imitation of the two-part musical structure in"The Dead",and theemployment of sound as a medium to implant multiple musical and cultural meanings intowritten language in"Sirens,"this paper demonstrates how Joyce's musicalized narrativeform undergoes significant changes,from separation to imitation,and finally to fusion,andhow he utilizes the polyphonicity and open-endedness of all three musical narratives toconstruct a covert progression of conflict and betrayal beneath the overt plot of courtshipand love,portraying layer by layer the spiritual paralysis of the modern man.

关 键 词：乔伊斯 音乐叙事 《室内乐》 《死者》 《塞壬》 

分 类 号：I561[文学—其他各国文学]