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

【摘要】：當代作家格非憑借“江南三部曲”獲得了第九屆茅盾文學獎。由此引發(fā)了評論界對作者及作品的又一次關注。本文以跨藝術的角度來關照格非的“江南三部曲”,以其為對象展開論述,試圖敞開音樂與小說之間千絲萬縷的聯系。這里談及的音樂性主要是從“江南三部曲”表面顯現的音樂性進行延伸,介入生命、與藝術的深層解讀。論文的前言首先梳理國內外對文學與音樂關系的研究以及文學的音樂性研究。其次總結了國內對格非“江南三部曲”的研究現狀與走向,點明了音樂性研究是一次有益的嘗試。第一章開篇對音樂性的概念進行界定,隨后對“江南三部曲”中復調的音樂性進行展開說明。文中運用了巴赫金、熱奈特以及昆德拉所提出的復調理論,主要著眼于作品形式上的復調進行論述。首先談及作品中“大型對話”形成的復調特征,論文以《人面桃花》《山河入夢》為例以作品中不同人物根據自己對同一件事件——革命,表達出不同的聲音、觀點。人物各自獨立的聲音與文中其他人物構成對話關系,四位主要見證人通過不同的視角闡述了自己對革命的看法,形成了既有矛盾沖突又和諧統(tǒng)一的多聲部對話形式。其中穿插了因感情基調突變而形成的對位與變奏,以及因為個體人物內心矛盾沖突而形成的“微型對話”的復調,即暗辯體的復調形式。暗辯體的復調形式是將矛盾的個體思想轉化成兩位藝術形象本我和他我進行對話而形成。最后討論了三部小說中因包含眾多的文本類型而形成了文類的復調。第二章,小說的結構模式與音樂的曲式模式,前半章先從結構上考察其音樂性。三部小說的發(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——再現的發(fā)展脈絡進行的,而小說內部的敘述時間發(fā)展也與音樂時態(tài)模式契合。之后從小說語句的重復、命運的重復、情節(jié)的重復來解讀作品。不斷的重復形成了有規(guī)律的節(jié)奏,而節(jié)奏感正是作品富有音樂性的表現。文章以節(jié)奏的加速、減速、力度來闡述小說節(jié)奏的存在方式之后又拓展了節(jié)奏的范圍,即節(jié)奏是如何與有機生命深層次的動相契合,以此來說明節(jié)奏呈現出樂與思的交匯。第三章是小說的音樂之境。本章論述了花、雨、孤島、夢境等意象的重復出現和自身變化的作用,意象的頻繁重復出現是為了烘托作品氛圍增添了小說的的詩化與審美的程度。意象內部變化的節(jié)奏帶動了小說有機生命的律動,生命律動構成節(jié)奏,有規(guī)律的節(jié)奏與時間相連構成生命空間,而生命空間的領悟在于人類的感受,這感受就是意境本身。意象的空間化功能能產生意境,意境最終會以“寂靜之音”的形式存在而這便是音樂的終極形式,回味悠長的意境讓作品抵達到了天籟的無聲之境。
[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.
【學位授予單位】：廣西師范學院
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：I207.425

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