摘要
易卜生的早期诗剧《培尔·金特》是一部典型的音乐化戏剧,其中音乐不再只是文学的“他者”,而是被赋予重要的叙事功能与主题价值,从边缘走向中心。剧作中的音乐化叙事表现在四个方面:跨媒介的音乐指涉、戏剧语言的音乐化、戏剧结构的音乐化、戏剧主题的音乐化。在这部音乐化戏剧中,易卜生跨越文学艺术的模仿说界限,进入音乐艺术的抒情性领域,试图消解文学艺术与音乐艺术之间的媒介边界,旨在实现文学的跨媒介叙事,重新思考文学与音乐之间的美学竞争关系。
In the poetic drama Peer Gynt,a typical musicalized drama by Henrik Ibsen in his early years,music is no longer just the"Other"in literature,but is endowed with important narrative functions and thematic value,pushed from the periphery to the center.The musicalized narrative in this drama is manifested in four aspects:intermedial musical references,musicalization of theatrical language,theatrical structure,and theatrical themes.In this drama,Ibsen transcends the boundary of literary imitation and explores in the lyrical realm of music,attempting to dissolve the media boundary between literature and music,aiming to achieve intermedial narrative in literature and rethink the paragon between literature and music.
作者
蒋贤萍
JIANG Xianping(College of Foreign Languages and Literature,Northwest Normal University,Lanzhou 730070,China)
出处
《太原学院学报(社会科学版)》
2025年第4期78-84,共7页
Journal of Taiyuan University(Social Science Edition)
基金
国家社会科学基金艺术学重大项目(18ZD06)。
