發(fā)布時(shí)間：2018-04-10 06:09

  本文選題：江南三部曲　切入點(diǎn)：音樂性　出處：《廣西師范學(xué)院》2017年碩士論文

【摘要】：當(dāng)代作家格非憑借“江南三部曲”獲得了第九屆茅盾文學(xué)獎(jiǎng)。由此引發(fā)了評(píng)論界對(duì)作者及作品的又一次關(guān)注。本文以跨藝術(shù)的角度來(lái)關(guān)照格非的“江南三部曲”,以其為對(duì)象展開論述,試圖敞開音樂與小說(shuō)之間千絲萬(wàn)縷的聯(lián)系。這里談及的音樂性主要是從“江南三部曲”表面顯現(xiàn)的音樂性進(jìn)行延伸,介入生命、與藝術(shù)的深層解讀。論文的前言首先梳理國(guó)內(nèi)外對(duì)文學(xué)與音樂關(guān)系的研究以及文學(xué)的音樂性研究。其次總結(jié)了國(guó)內(nèi)對(duì)格非“江南三部曲”的研究現(xiàn)狀與走向,點(diǎn)明了音樂性研究是一次有益的嘗試。第一章開篇對(duì)音樂性的概念進(jìn)行界定,隨后對(duì)“江南三部曲”中復(fù)調(diào)的音樂性進(jìn)行展開說(shuō)明。文中運(yùn)用了巴赫金、熱奈特以及昆德拉所提出的復(fù)調(diào)理論,主要著眼于作品形式上的復(fù)調(diào)進(jìn)行論述。首先談及作品中“大型對(duì)話”形成的復(fù)調(diào)特征,論文以《人面桃花》《山河入夢(mèng)》為例以作品中不同人物根據(jù)自己對(duì)同一件事件——革命,表達(dá)出不同的聲音、觀點(diǎn)。人物各自獨(dú)立的聲音與文中其他人物構(gòu)成對(duì)話關(guān)系,四位主要見證人通過不同的視角闡述了自己對(duì)革命的看法,形成了既有矛盾沖突又和諧統(tǒng)一的多聲部對(duì)話形式。其中穿插了因感情基調(diào)突變而形成的對(duì)位與變奏,以及因?yàn)閭�(gè)體人物內(nèi)心矛盾沖突而形成的“微型對(duì)話”的復(fù)調(diào),即暗辯體的復(fù)調(diào)形式。暗辯體的復(fù)調(diào)形式是將矛盾的個(gè)體思想轉(zhuǎn)化成兩位藝術(shù)形象本我和他我進(jìn)行對(duì)話而形成。最后討論了三部小說(shuō)中因包含眾多的文本類型而形成了文類的復(fù)調(diào)。第二章,小說(shuō)的結(jié)構(gòu)模式與音樂的曲式模式,前半章先從結(jié)構(gòu)上考察其音樂性。三部小說(shuō)的發(fā)展與音樂中奏鳴曲式的外部模式相契合。都是以呈示——展開——再現(xiàn)的發(fā)展脈絡(luò)進(jìn)行的,而小說(shuō)內(nèi)部的敘述時(shí)間發(fā)展也與音樂時(shí)態(tài)模式契合。之后從小說(shuō)語(yǔ)句的重復(fù)、命運(yùn)的重復(fù)、情節(jié)的重復(fù)來(lái)解讀作品。不斷的重復(fù)形成了有規(guī)律的節(jié)奏,而節(jié)奏感正是作品富有音樂性的表現(xiàn)。文章以節(jié)奏的加速、減速、力度來(lái)闡述小說(shuō)節(jié)奏的存在方式之后又拓展了節(jié)奏的范圍,即節(jié)奏是如何與有機(jī)生命深層次的動(dòng)相契合,以此來(lái)說(shuō)明節(jié)奏呈現(xiàn)出樂與思的交匯。第三章是小說(shuō)的音樂之境。本章論述了花、雨、孤島、夢(mèng)境等意象的重復(fù)出現(xiàn)和自身變化的作用,意象的頻繁重復(fù)出現(xiàn)是為了烘托作品氛圍增添了小說(shuō)的的詩(shī)化與審美的程度。意象內(nèi)部變化的節(jié)奏帶動(dòng)了小說(shuō)有機(jī)生命的律動(dòng),生命律動(dòng)構(gòu)成節(jié)奏,有規(guī)律的節(jié)奏與時(shí)間相連構(gòu)成生命空間,而生命空間的領(lǐng)悟在于人類的感受,這感受就是意境本身。意象的空間化功能能產(chǎn)生意境,意境最終會(huì)以“寂靜之音”的形式存在而這便是音樂的終極形式,回味悠長(zhǎng)的意境讓作品抵達(dá)到了天籟的無(wú)聲之境。
[Abstract]:Ge Fei, the contemporary writer, won the ninth Mao Dun Prize for Literature for his trilogy of Jiangnan.This has caused the critical circle to the author and the work again concern.This paper focuses on Ge Fei's "Jiangnan trilogy" from the angle of cross-art, taking it as the object of discussion, and tries to open up the inextricable connection between music and novel.The musicality discussed here mainly extends from the surface of Jiangnan Trilogy, and involves in the deep interpretation of life and art.The foreword of the thesis firstly combs the domestic and foreign studies on the relationship between literature and music and the musical study of literature.Secondly, it summarizes the current situation and trend of Ge Fei's trilogy of Jiangnan River, and points out that the study of musicality is a beneficial attempt.The first chapter defines the concept of musicality, and then explains the musicality of polyphony in Jiangnan trilogy.This paper applies the theory of polyphony put forward by Bakhtin, Genett and Kundera, mainly focusing on the polyphony in the form of works.First of all, we talk about the polyphonic characteristics of the "large-scale dialogue" in the works. Taking "Peach Blossom on the face" and "the Dream of the Mountains and Rivers" as an example, different characters in the works express different voices and viewpoints according to their own revolution on the same event.The independent voices of the characters form a dialogue relationship with the other characters in the text. The four main witnesses explain their views on the revolution from different perspectives and form a multi-voice dialogue form which is not only contradictory but also harmonious and unified.Among them interspersed with the opposites and variations formed by the sudden change of emotional tone, and the polyphony of "mini dialogue" formed by the inner contradiction and conflict of individual characters, that is, the polyphonic form of the dark argument.The polyphonic form of the dark argument is to transform the contradictory individual thought into a dialogue between the two artistic images.Finally, it discusses the polyphonic features of the three novels which contain many text types.The second chapter, the structure of the novel and the music of the musical model, the first half of the first chapter from the structure of its musicality.The development of the three novels coincides with the external mode of sonata in music.Both of them are based on the development of presentation, development and reproduction, and the development of narrative time in the novel coincides with the musical tense pattern.Then it interprets the works from the repetition of the novel sentence, the repetition of fate and the repetition of plot.Constant repetition forms a regular rhythm, and the rhythm is the musical performance of the work.With the acceleration, deceleration and intensity of rhythm, this paper expounds the existence of rhythm in novels and then expands the scope of rhythm, that is, how rhythm fits with the deep movement of organic life, so as to explain the intersection of music and thought in rhythm.The third chapter is the musical environment of the novel.This chapter discusses the repeated appearance of images such as flowers, rain, isolated islands, dreams and so on. The frequent repetition of images is in order to enhance the poetic and aesthetic degree of the novel.The rhythm of the internal change of the image drives the rhythm of organic life in the novel, the rhythm of life constitutes the rhythm, the rhythm of the regular rhythm and the time are connected to form the life space, and the understanding of the life space lies in the human feeling, this feeling is the artistic conception itself.The spatial function of image can produce artistic conception, which will eventually exist in the form of "Sound of Silence", which is the ultimate form of music.
【學(xué)位授予單位】：廣西師范學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I207.425

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