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| Title: | 「音樂家的角力無所不在–」艾蜜莉‧荻瑾蓀詩學想像中的流行與藝術音樂
Musicians wrestle everywhere-” : popular and art music in Emily Dickinson’s poetic imagination |
| Authors: | 黃崇軒
Huang, Chung-Hsuan |
| Contributors: | 許立欣
Hsu, Li-Hsin
黃崇軒
Huang, Chung-Hsuan |
| Keywords: | 艾蜜莉‧荻瑾蓀
音樂詩學
十九世紀美國文學
抒情主體
浪漫主義
Emily Dickinson
Musical poetics
Nineteenth-century American literature
Lyrical subject
Romanticism |
| Date: | 2025 |
| Issue Date: | 2025-08-04 15:37:29 (UTC+8) |
| Abstract: | 本論文探討艾蜜莉‧荻瑾蓀的詩學想像中對於音樂家角色的使用，並將焦點置於十九世紀美國流行聲樂與藝術器樂如何反映於其詩中。以往的研究已經探討過荻瑾蓀詩歌中的音樂性以及他對於民謠、聖詠、以及其他音樂類型的豐富經驗，而此研究則轉向審視音樂家如吟遊詩人、器樂演奏者、以及作曲家對於荻瑾蓀的音樂詩學之建構。本論文第一章探討十九世紀美國內戰前的新英格蘭音樂文化。在該文化中，流行音樂與其創作仍佔主導地位，但藝術音樂的意義日益上升，此二者構成了荻瑾蓀對於音樂理解的基礎。在第二章中，我將分析荻瑾蓀對於流行聲樂的想像，並透過分析他對於以聲樂為基礎的詩作以及虛構的聽眾的使用，探討迪謹蓀如何借助吟遊詩人的模式以建構為一個為被忽視的人群發聲的地方性抒情主體。第三章則轉向荻瑾蓀對器樂藝術音樂之理解，闡釋他如何利用器樂演奏者以及作曲家的形象在其音樂性詩歌中傳達「不可言喻」之感受，同時也將其對於藝術音樂的詩學與德國浪漫主義相契合。透過對於荻瑾蓀的詩作、書信、以及該時代的音樂出版物的細讀，本論文旨在建構音樂家與音樂對於荻瑾蓀詩學的整體性視角，並為其音樂性研究提供新的貢獻。
This thesis investigates the role of musicians in Emily Dickinson’s poetic imagination, focusing on how her poems reflect the influence of nineteenth-century American popular vocal music and instrumental art music. While previous scholarship has explored the musicality of Dickinson’s poetry and her musical experience with ballads, hymns, and other music of her time, this study examines her utilization of musical figures in the form of minstrels, instrumentalists, and composers as central to her construction of musical poetics. The first chapter foregrounds the evolving musical culture of antebellum New England that underlies Dickinson’s conceptualization of music, where popular music and its making remain dominant, while the significance of art music continues to rise. The second chapter analyzes Dickinson’s imagination of popular vocal music, focusing on how she utilizes the minstrel mode to articulate a local poetic voice of the unheard through her vocal music-based poems and their imagined audience. The final chapter shifts toward Dickinson’s idealization of instrumental art music, elucidating her usage of instrumentalists and composers to convey the ineffable in her musical poems while aligning her poetics about art music with the aesthetics of German Romanticism. Through close readings of Dickinson’s poems, letters, and musical publications of her time, this thesis aims to construct a holistic perspective on how music and musicians shape her poetics, thereby contributing to the musical scholarship on Dickinson. |
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| Description: | 碩士
國立政治大學
英國語文學系
110551002 |
| Source URI: | http://thesis.lib.nccu.edu.tw/record/#G0110551002 |
| Data Type: | thesis |
| Appears in Collections: | [英國語文學系] 學位論文
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