格非“江南三部曲”的音乐性

发布时间：2018-04-10 06:09

本文选题：江南三部曲　切入点：音乐性　出处：《广西师范学院》2017年硕士论文

【摘要】：当代作家格非凭借“江南三部曲”获得了第九届茅盾文学奖。由此引发了评论界对作者及作品的又一次关注。本文以跨艺术的角度来关照格非的“江南三部曲”,以其为对象展开论述,试图敞开音乐与小说之间千丝万缕的联系。这里谈及的音乐性主要是从“江南三部曲”表面显现的音乐性进行延伸,介入生命、与艺术的深层解读。论文的前言首先梳理国内外对文学与音乐关系的研究以及文学的音乐性研究。其次总结了国内对格非“江南三部曲”的研究现状与走向,点明了音乐性研究是一次有益的尝试。第一章开篇对音乐性的概念进行界定,随后对“江南三部曲”中复调的音乐性进行展开说明。文中运用了巴赫金、热奈特以及昆德拉所提出的复调理论,主要着眼于作品形式上的复调进行论述。首先谈及作品中“大型对话”形成的复调特征,论文以《人面桃花》《山河入梦》为例以作品中不同人物根据自己对同一件事件——革命,表达出不同的声音、观点。人物各自独立的声音与文中其他人物构成对话关系,四位主要见证人通过不同的视角阐述了自己对革命的看法,形成了既有矛盾冲突又和谐统一的多声部对话形式。其中穿插了因感情基调突变而形成的对位与变奏,以及因为个体人物内心矛盾冲突而形成的“微型对话”的复调,即暗辩体的复调形式。暗辩体的复调形式是将矛盾的个体思想转化成两位艺术形象本我和他我进行对话而形成。最后讨论了三部小说中因包含众多的文本类型而形成了文类的复调。第二章,小说的结构模式与音乐的曲式模式,前半章先从结构上考察其音乐性。三部小说的发展与音乐中奏鸣曲式的外部模式相契合。都是以呈示——展开——再现的发展脉络进行的,而小说内部的叙述时间发展也与音乐时态模式契合。之后从小说语句的重复、命运的重复、情节的重复来解读作品。不断的重复形成了有规律的节奏,而节奏感正是作品富有音乐性的表现。文章以节奏的加速、减速、力度来阐述小说节奏的存在方式之后又拓展了节奏的范围,即节奏是如何与有机生命深层次的动相契合,以此来说明节奏呈现出乐与思的交汇。第三章是小说的音乐之境。本章论述了花、雨、孤岛、梦境等意象的重复出现和自身变化的作用,意象的频繁重复出现是为了烘托作品氛围增添了小说的的诗化与审美的程度。意象内部变化的节奏带动了小说有机生命的律动,生命律动构成节奏,有规律的节奏与时间相连构成生命空间,而生命空间的领悟在于人类的感受,这感受就是意境本身。意象的空间化功能能产生意境,意境最终会以“寂静之音”的形式存在而这便是音乐的终极形式,回味悠长的意境让作品抵达到了天籁的无声之境。
[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.
【学位授予单位】：广西师范学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.425

【参考文献】