音樂與語言的文學嬉戲:從莎士比亞到石黑一雄__臺灣人文及社會科學引文索引資料庫

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題名：	音樂與語言的文學嬉戲:從莎士比亞到石黑一雄
作者：	陳順龍
作者(外文)：	Chen, Shun-lung
校院名稱：	國立彰化師範大學
系所名稱：	英語學系
指導教授：	儲湘君
學位類別：	博士
出版日期：	2016
主題關鍵詞：	音樂與語言共生；莎士比亞；石黑一雄；巴特；德勒茲與瓜塔里；自我認同；《夜曲》；隱喻；Music co-existing with language；Shakespeare；Ishiguro；Barthes；Deleuze and Guattari；Identification；Nocturnes；metaphor
原始連結：	連回原系統網址
相關次數：	被引用次數:期刊(0) 博士論文(0) 專書(0) 專書論文(0) 排除自我引用:0 共同引用:0 點閱:6

中文摘要
音樂與語言普遍被認為是兩種表達系統，音樂較重「表情」，而語言較重「表意」。本篇論文探討音樂與語言「情意相依」的緊密關聯，以至於在文學作品和論述言說當中，音樂概念經常成為一種暗喻或轉喻的修辭技巧；而當代文本中所嵌入的流行歌曲曲目，更可能在全球化的「臆想」中，誘發讀者，甚或是個別角色之間，不同的人生體認與身分認同，進而豐富了文本詮釋的多元意義。
論文序章建置論文架構。第一章概述音樂與語言孰先孰後的各家看法以及當代理論家，以及音樂這個大概念在哲學上可能隱涉的意涵。特別是德勒茲與瓜塔里(Gilles Deleuze and Pierre-Félix Guattari)二人對音樂提出了顛覆性的詮釋，認為音樂不純屬聽覺，而是在所有領域中的一種物理律動與反覆，本章最後並舉例說明音樂與語言之間，「『意圖』表達」和「『表達』意圖」的辯證關係。第二章探討莎劇中嵌入文本中的歌曲與音樂概念，經常成為修辭上的暗喻情境，用以類比人生百態。
第三章討論音樂的時代性與現代文學互相輝映的特質，在近代文學中，文本中的「音樂屬性」豐富了作品中的韻律感；以詩而言，有時聲調上的反覆，替代性地捕抓了視覺上的律動；就小說和戲劇來說，文本中反覆出現的主題更是印證了德勒茲所謂「副歌」的概念，再三迴旋；但是這樣的律動儘管周而復始，每次卻都不盡相同，而是一種同中有異，異中有同的轉移更替。第四章聚焦討論石黑一雄的《夜曲》，闡述音樂在當代流行歌曲中的哲學意涵，像是音樂的傳播方式和普及程度，對於身分認同和經驗認知可能產生的歧異。在現代生活裡和當代文本中，隨時隨地隨機播放(描述)的一首歌，都可能是一場穿越時空的流動宴席。所有在場的每一個「你」(不論是書中角色或是現實中的讀者)，都是歌詞與歌曲裡所演繹的那個「我」。

以文找文

Abstract
Music and language are commonly held as two distinct systems; music resorts to emotion and language is more prone to meaning. This dissertation explores the close-knit existence of music and language, which has enabled music to infiltrate literature to become metaphors and metonymies. Particularly a popular song alluded in a contemporary text could be indicative of various life experiences and multiple identifications among the different characters and even readers under the seeming unison of globalized musical aura.
The introductory chapter sets up the framework of my dissertation. Chapter one gives an overview of observations concerning how music is situated in language as well as the philosophical indications of music in contemporary theorists, among which, Gilles Deleuze and Pierre-Félix Guattari in particular have come up with a revolutionary view on music, contending that music is not just a tonal fact but also a repetitive refrain that exists in all fields in the cosmos. Two examples are given to illustrate the dialogic nature between “a musical intent via linguistic expression” and “the linguistic expression by way of a musical intent.”
Chapter two discusses how music in Shakespeare (either woven into texts or as a theatrical prop) brims with rhetorical purposes as metaphors to compare to various situations of life. Chapter three analyzes how the Zeitgeist of music is reflected in modernist literature. In poetry, sometimes visual rhythm is mimicked via audio effects in rhyming and stress. In drama, a returning motif often speaks of a Deleuzian musical refrain, albeit such a refrain, though ever returning, does not return as the same but with variations and modifications. Chapter four features Ishiguro’s Nocturnes by exploring how music garners multiplicities in identification with regard to temporality, modes of deliverance, and popularity, which are issues that concern many theorists. In sum, the pervasiveness of pop music has rendered a song movable; a feast across time and space, as it were, because whenever and wherever a song is played, it plays for a whichever you and hence an epistemological I.

以文找文

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