【作者】 李雪梅；

【导师】 王铁仙；

【作者基本信息】 华东师范大学 ， 中国现当代文学， 2011， 博士

【摘要】 本文以部分具有音乐性的中国现代小说为考察对象,以Werner Wolf的小说音乐化研究为理论背景,试图以跨艺术的视点来敞开小说与音乐之间的微妙关系,理解这两种艺术互为创造和批评的参照时彼此之间的重叠与落差,从而在这些重叠与落差的缝隙背后,介入人性、文化与艺术的深层解读。因此,本文中小说的音乐性主要的更是一种把握和理解作品、乃至世界的方式,是一种任何有机生命形式的内在深层结构。论文分成四个部分。论文的绪言部分对中国现代小说的音乐性进行了概念界定,并强调对小说的音乐性研究也必须纳入系统规范的研究程序之中。梳理国内外关于小说与音乐的关系(音乐化/音乐性)研究成果、现状与未来走向。第一章从理论上论述小说音乐性的学理依据。在中国艺术精神的范畴中,生命、艺术与音乐性三者之间天然地关联着。如果说生命现象是一切艺术的根源,那么音乐性则是二者深层关联的关键词之一。而实际上,这一点在西方艺术史上也概莫能外。作为文学艺术王国里的小说,这一文类的音乐性似乎隐蔽得令人谈论起来都觉得困难。从与音乐结邻为“姊妹艺术”的诗歌的音乐性,到小说的音乐性,这期间经历了什么样的一个音乐性转移的过程?小说的音乐化与音乐性的区别在哪里?不同于西方小说史,音乐性才是理解中国现代小说创作和批评与音乐的合适切入点,但音乐化在这里作为实现音乐性的手段之一出现。这也是本研究与Werner Wolf的研究方法的区别之所在。因为音乐性还试图解决手段之后的某些精神问题。正是依据这样一种区分,论文的下面三章分别从中国现代小说音乐性的显性特质与隐性特质分层次进行论述。第二章,中国现代小说音乐性显性特质的第一个部分,也即从语言层面上来考察音乐性。小说作品首先是作为“声音系列”存在的,当我们面对不同风格的“声音系列”,我们已经在享受不同风格不同形式的小说语言艺术,以及语言所传递的那一种情感方式。浸淫在中国古典文学中的现代作家如鲁迅、叶圣陶等对作文有着本能的要求：“适于耳顺于口”。第二节以《上海的狐步舞》为例,分析当小说语言的能指与所指关系发生变化,能指裸露自身的物质感,其滑动直逼事物的本来面貌,如旋律的自主流淌。论文接着在所谓的“文字音乐”或是形式模仿的层面上再度思考与审视这种小说语言的音乐性现象。第三节考察小说语言音乐性的形式功能。论文认为作家在将音乐作为文学理想参照的情况下,小说语言的音乐性至少具有服从与逃逸,以及表现新的情感结构的功能。论文的第三章是中国现代小说音乐性显性特质的第二个部分,也即着眼于结构层面上的音乐性。首先,论文以沈从文的小说《看虹录》作为案例,探析作家“用人心人事作曲”的独特实践,并指出该小说不仅在结构上模仿音乐,并且实际上在营造一节聆听音乐的幻觉真实,是更广泛意义上的“以文述乐”(verbal music)。这是中国现代小说史乃至世界小说史上的一个独特存在。其次,论文以鲁迅的《狂人日记》为例,在前人研究成果的基础上再次涉足其复调及音乐性特征。只是需要特别指出的是,这主要是批评者赋予的音乐性解读。最后,论文指出小说结构的音乐性至少具有如下功能：线性叙事的空间化功能、作为一种世界秩序的象征、以及焕发小说这种艺术形式的模式外光芒的功能。第四章是关于中国现代小说音乐性的隐性特质。这一特质是音乐化所无法涵盖的主要方面。论文以中国现代小说史上两部著名的抒情小说《边城》、《呼兰河传》为例。同样的,前者是有意识地“音乐”的方法写的,后者属于特定生命条件下最本真状态的流露所具有的生命节奏。二者都几近天籁,因而极其圆融地体现出论文第一章所展开的生命、艺术与音乐性的意涵。更多还原

【Abstract】 Parts of Chinese modern fiction with musicality are the aim of this article. Inside the text, which will try to read and understand the relation between fiction and music from a trans-art point under the research background of the theory of musicalization of fiction by Werner Wolf. The overlaps and gaps arise when the two different art media as a reference of literary writing and criticizing of each other. Then, we can analyze the meaning of humanity、culture and art deeply behind those overlaps and gaps. Therefore, the main meaning of musicality in this context is a way of grasping and understanding those art works and the world, an inner-structure of any life form. There are four parts in the thesis.In the part of introduction, the concept of the musicality of Chinese modern fiction will be given, and point out that the research of fictional musicality must be going on in a systematical and rigid progress. After that, it was an overview of the achievements, present situation and the future of the research between fiction and music (the musicality/musicalization) inside and outside China.In the first chapter, it’s a theoretical discussion of fictional musicality. Life, art and musicality have a basic co-relation. If the phenomenon of life is the origin of all arts, the musicality must be one of the keyword in the deep relation. In fact, it does not only belong to Chinese art, western also. It seems that the musicality of fiction is so opaque that it’s difficult for us to find and talk about them. What have been changed or transferred from the musicality of poem----the ’sister art’ of music, to the musicality of fiction? What are the differences between the musicalization and musicality of fiction? Different with the history of western fiction, musicality is an applicable way for understanding the relation between the writing and criticizing of Chinese modern fiction and music, but one should remember that musicalization here function as a technique of musicality. It is a main distinction from the research by Werner wolf from this respect to begin with the discussion in this thesis. Due to the definition of musicality may include metaphysical level. Just because of the distinction, the topic will be discussed from different levels of implicit and explicit features in the following three chapters.The second chapter is the first part of explicit feature of Chinese modern fiction, namely exploiting the musicality from the level of word. As is known, first of all, fiction is a kind of’sound series’. When we read those’sound series’with different style, we are enjoying the art of language with different style and form, and the way of the emotional transmission. Chinese modern writer such as Luxun, Yeshengtao and so on, they all were familiar with Chinese classical literature, therefore they have an instinct for the sound of the word such as’pleasing to the ear and smoothly to read’. The second section of the chapter will deal with the signifier and signified of fictional language in the Fox Trot of Shanghai. When the relation of the two were changing, the signifier uncovered the material of the media itself, it’s like a free flowing melody whose moving were near to the real appearance of things. On top of it, we will re-discuss and examine the phenomenon of the musicality of the fictional language on the ’word music’ or form analogical level. The third section will concern about the formal function of the musicality of the fictional language. That is, when those writer regard music as a literature ideal reference, the musicality of fictional language at least function as obeying and escaping, expressing a new emotional structure and so on.The third chapter is the second part of the explicit feature of the musicality of Chinese modern fiction, namely, from the level of fictional structure. Firstly, we will take A Recording of Visiting the Raibow by Shencongwen as an example, to analyze the special experiment of’composing with human emotion and life’. The fiction imitated music not only in the structure level, but also managed to create a real experience of listening to a piece of music. Therefore, it was a kind of’verbal music’ in a broad sense. For this reason, it was a unique work in the history of Chinese fiction and even in the world. Secondly, an example from Luxun, A Madman’s Diary, will be discussed from a view of polyphonic and musicality which based on the predecessors’ research. It is to be noted that this is an effect endow by critics. Finally, the function of the structure will be outlined, that is:the spatialize function of linear narrative, as a symbol of the order of the world, and to throw off some sort of effect which was beyond fiction.The fourth chapter will talk about the implicit feature of the musicality of Chinese modern fiction. It’s a question we cannot solve by the frame of musicalization of fiction. We will choose two famous lyrical fictions in the history of Chinese modern fiction as cases, that is, Frontier Town and A Biography of Hulan River. The same to the discussion above, the former used musical technique intensionally; the latter was a free and sincere revealing of life rhythm under specific condition of life. Both of them are near to ’the sound of nature’, for they all display a vivid and rich meaning of life, art and musicality which were developed in the first chapter.更多还原