IF 0.1 3区 文学 0 LITERATURE, GERMAN, DUTCH, SCANDINAVIAN
Joanna Neilly
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引用次数: 0

摘要

摘要Müller 1824年的《死亡的冬天》,尤其是其最后一首诗《Der Leiermann》,经常被解读为浪漫主义死亡愿望的虚无主义表达。流浪者进入了一种永恒的疏离状态,这一点以冰冷的风景为象征,在那里,他将永远随着被驱逐的胡迪·古迪的音乐排练自己的孤独和绝望之歌,而这个人又被解读为死亡的预兆。这篇文章认为,这样的阅读忽略了流浪者在停止旅程时所采取的根本批判模式,摒弃了向前努力的浪漫主义美学,转而支持(矛盾的)新的重复美学。Elfriede Jelinek 2011年的戏剧《Winterreise》揭示了这一行为的颠覆性潜力。在这部剧中,一位身材魁梧的女性顽强地拒绝移动,挑战了痴迷于新奇事物的现代文化。通过重读米勒的《Der Leiermann》,并与耶利内克的实验性作品进行对话,我们可以认识到这两部作品是如何为了刻意关注当下而拒绝未来的幻想诱惑的。因此,米勒的诗并不是自我毁灭的浪漫主义的最低点,而是对其逻辑终点的创新性逃离。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Wilhelm Müller’s Leiermann, Elfriede Jelinek’s Leierfrau, and Radical Repetition
ABSTRACT Wilhelm Müller’s 1824 cycle Die Winterreise, and particularly its final poem ‘Der Leiermann’, are often read as nihilistic expressions of a Romantic death wish. The wanderer moves into a state of eternal alienation, symbolized by the icy landscape where he will forever rehearse his songs of loneliness and despair to the much-maligned music of the outcast hurdy-gurdy man, who has in turn been read as a harbinger of death. This article argues that such readings overlook the radically critical mode taken up by the wanderer when he stops his journey, dismissing a Romantic aesthetics of forwards striving in favour of a (paradoxically) new aesthetics of repetition. The subversive potential of this act is revealed in Elfriede Jelinek’s 2011 play Winterreise, in which a hurdy-gurdy woman challenges a modern culture obsessed with novelty by stubbornly refusing to move. By rereading Müller’s ‘Der Leiermann’ in dialogue with Jelinek’s experimental reworking, we can recognize how both works reject the chimerical lure of the future for the sake of deliberate attention to the present moment. Müller’s poem is not, then, the nadir of a self-destructive Romanticism, but an innovative escape from its logical end.
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来源期刊
Publications of the English Goethe Society
Publications of the English Goethe Society LITERATURE, GERMAN, DUTCH, SCANDINAVIAN-
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