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互文性作为产生于结构主义与后结构主义思潮下的一种文本理论,已在西方文学理论界受到了广泛关注并产生了一定影响。目前,其理论、方法已被许多其它相关学科引用和借鉴,在我国文学和翻译界也得到广泛运用和研究。然而,到目前为止,在我国音乐学和音乐美学界对其理论、方法的研究和运用尚属不多。文章在以互文性为主要视角的基础上,通过对其术语相关特征的分析及其它相关理论资源的整合,并以《1812序曲》和《马赛曲》为例,对在音乐美学中长期讨论的音乐创作与音乐意义问题做些初浅的分析,以期对互文性在音乐美学领域中的应用起到一个抛砖引玉的作用。
Intertextuality, as a kind of text theory arising from the trend of structuralism and post-structuralism, has received extensive attention in the field of western literary theory and exerted some influence. At present, its theories and methods have been quoted and used by many other related disciplines, and have been widely used and studied in Chinese literature and translation circles. However, so far, the research and application of their theories and methods in China’s musicology and music esthetics are still few. On the basis of intertextuality, the article analyzes the related features of the terms and the integration of other related theoretical resources, and takes “1812 Overture” and “Marseilles” as an example, Music creation and music significance to do preliminary analysis, with a view to intertextuality in the field of music aesthetics play a startling role.