摘要
在小说《耻》中,主人公卢里创作的歌剧《拜伦在意大利》在文本中占有特殊的位置,卢里在创作歌剧的过程中在剧中的位置也在不断地发生变化,彼此之间有着紧密的联系。结合卢里的中年人生困境,可以看到卢里在歌剧中对于拜伦的移情化描写,并且试图通过拯救中年的特蕾莎来拯救在面临衰老和死亡的自己,最终通过歌剧中的音乐获得了悲剧中的喜剧性。此外,本文运用尼采的悲剧理论分析其中的歌剧音乐和喜剧性,并得出卢里懂得生命的普世价值,继而从容面对死亡的原因。
In the novel "Disgrace", the opera "Byron in Italy" created by the protagonist Lurie has a special position in the text, and the position of Luli in the drama is constantly changing during the process of creating the opera. There is a close connection. Combined with Lurie’s middle-aged life dilemma, Lurie’s empathic description of Byron’s empathy can be seen, and he tries to save himself in the face of aging and death by saving Middle-aged Theresa through the opera. Music has gained the comedy in tragedy and it is worth exploring. In addition, this study uses Nietzsche’s tragedy theory to analyze the opera music and comedy, and finds that Lurie understands the universal value of life and then calmly faces the cause of death.
作者
张月
Zhang Yue(College of Literature,Hebei Normal University,Shijiazhuang 050024,China)
出处
《石家庄铁道大学学报（社会科学版）》
2019年第4期56-59,共4页
Journal of Shijiazhuang Tiedao University（Social Science Edition）
关键词
库切
《耻》
音乐
喜剧性
Coetzee
Disgrace
musical nature
comedy
