听觉叙事:《京华烟云》中声音的三种表现形式
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摘要
林语堂在《京华烟云》中通过刻画各种声音的听觉叙事表现清末民初中国普通百姓的日常生活。林语堂在小说中以声音的叙事化形式描绘丧礼和婚礼等活动场景,结合梦境、军旅声等主导动机的写作手法,以声音的主题化形式表达梦境与运气之间的关系,并以声音的精神化形式将姚木兰等普通百姓的生活与民族共同体的想象融为一体。小说的听觉叙事表现了林语堂对声音极其敏锐的感知能力。
LIN Yutang expresses the ordinary Chinese daily life in the late Qing Dynasty and the early Republic of China for nearly 40 years by portraying various sounds and auditory experiences in Moment in Peking,in which LIN Yutang depicts the scenes of funeral and wedding activities in the form of narrativized sound,expresses the relationship between dream and luck in the form of thematized sound,and displays the integration of the ordinary people such as YAO Mulan and the imagination of the national community in the form of spiritualized sound,together with the writing technique of leitmotiv including dreams and military voices. All the acoustic narratives of the novel manifest LIN Yutang's extremely sharp ability to perceive sounds.
LIN Yutang expresses the ordinary Chinese daily life in the late Qing Dynasty and the early Republic of China for nearly 40 years by portraying various sounds and auditory experiences in Moment in Peking,in which LIN Yutang depicts the scenes of funeral and wedding activities in the form of narrativized sound,expresses the relationship between dream and luck in the form of thematized sound,and displays the integration of the ordinary people such as YAO Mulan and the imagination of the national community in the form of spiritualized sound,together with the writing technique of leitmotiv including dreams and military voices. All the acoustic narratives of the novel manifest LIN Yutang's extremely sharp ability to perceive sounds.
引文
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[5]刘锋杰.承继与分离:《京华烟云》对《红楼梦》关系之研究[J].红楼梦学刊,1996(3):220-249.
[6]赖勤芳.《京华烟云》的日常生活叙事[J].宁波职业技术学院学报,2008(6):82-86.
[7]陈智淦,张秀燕.论林语堂的旅行书写[J].江苏科技大学学报(社会科学版),2016(2):63-71.
[8]傅修延.中国叙事学[M].北京:北京大学出版社,2015.
[9]林语堂.京华烟云[M].张振玉,译.长沙:湖南文艺出版社,2016.
[10]林语堂.吾国与吾民[M].黄嘉德,译.长沙:湖南文艺出版社,2016.
[11]王晓珏.电影、收音机与市声:张爱玲与声音景观[J].中国现代文学研究丛刊,2018(6):79-91.
[12]曾锋.鲁迅的文学创作与音乐[J].中国现代文学研究丛刊,2014(1):176-189.
[13]伍晓明.文学与音乐[M]//乐黛云,王宁.超学科比较文学研究.北京:中国社会科学出版社,1989.
[14]勒内·韦勒克,奥斯汀·沃伦.文学理论[M].刘象愚,译.北京:文化艺术出版社,2010.
[15]傅修延.论音景[J].外国文学研究,2015(5):59-69.
[2]詹姆斯·费伦,彼得·J·拉比诺维茨.当代叙事理论指南[M].申丹,马海良,宁一中,等,译.北京:北京大学出版社,2007.
[3]傅修延.听觉叙事初探[J].江西社会科学,2013(2):220-231.
[4]周志高.叙事学中的听觉转向与研究范式[J].外语教学,2018(6):108-113.
[5]刘锋杰.承继与分离:《京华烟云》对《红楼梦》关系之研究[J].红楼梦学刊,1996(3):220-249.
[6]赖勤芳.《京华烟云》的日常生活叙事[J].宁波职业技术学院学报,2008(6):82-86.
[7]陈智淦,张秀燕.论林语堂的旅行书写[J].江苏科技大学学报(社会科学版),2016(2):63-71.
[8]傅修延.中国叙事学[M].北京:北京大学出版社,2015.
[9]林语堂.京华烟云[M].张振玉,译.长沙:湖南文艺出版社,2016.
[10]林语堂.吾国与吾民[M].黄嘉德,译.长沙:湖南文艺出版社,2016.
[11]王晓珏.电影、收音机与市声:张爱玲与声音景观[J].中国现代文学研究丛刊,2018(6):79-91.
[12]曾锋.鲁迅的文学创作与音乐[J].中国现代文学研究丛刊,2014(1):176-189.
[13]伍晓明.文学与音乐[M]//乐黛云,王宁.超学科比较文学研究.北京:中国社会科学出版社,1989.
[14]勒内·韦勒克,奥斯汀·沃伦.文学理论[M].刘象愚,译.北京:文化艺术出版社,2010.
[15]傅修延.论音景[J].外国文学研究,2015(5):59-69.