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本文选取诺贝尔文学奖得主耶利内克的剧本《沉默》为研究对象,聚焦于其作品的音乐性和批判性及两者的潜在联系上,指出耶氏作品的音乐性不仅体现在词、句上,在篇章构架方面更是借鉴了作曲中的交响乐展开部主题交织的创作技法,使作品所要表达的三重批判主题,如交响性旋律一般得以奏响。本文的第一部分通过对奥地利文学语言的回顾与归纳,提出音乐性是耶氏沿袭奥地利文化传统中的语言游戏风格,并进行语言革新的一种艺术手段。第二部分通过对《沉默》剧本中语言特色和交错发展的三重批判主题的梳理,即对奥地利逃避历史、对商业社会小市民的肤浅性以及对“我”的批判,展现耶氏作品的音乐性及其借鉴音乐主题交织形式铺陈内容的写作技巧和批判精神。
In this paper, we choose the novel “Silence”, by Jelinek, winner of the Nobel Prize for Literature as the research object. Focusing on the musicality and criticality of his works and the potential connection between the two, we point out that the musicality of Yar’s works is not only reflected in words, On the sentence structure, the textual structure draws on the interweaving creative techniques of the symphony opener in the composition, so that the triple critical theme to be expressed in the work, such as the symphonic melody, can be played. In the first part of the thesis, through the review and induction of the Austrian literature language, it is proposed that musicality is a kind of artistic means by which Yahya follows the language game style in the Austrian cultural tradition and reforms the language. In the second part, through the combing of the three critical themes of language features and staggered development in the “silent” script, that is, the austerity of Austria in escaping history, the vulgarity of the small-scale business community, and the criticism of “I” Musicality and its borrowing of musical themes intertwine the content writing skills and critical spirit.