抒情诗在爱沙尼亚文学中的作用:三个典型案例

IF 0.2 0 LITERATURE
Anneli Niinre
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引用次数: 0

摘要

歌词通常位于文学作品的边缘,在讨论作家及其作品时往往不会出现在第一行。人们一直在争论是否应该把歌词视为文学和/或“真正的诗歌”。本文考察了爱沙尼亚文学中旋律优美的诗歌文本在爱沙尼亚文化中发挥重要作用并被视为核心文本的三个案例:Lydia Koidula的“Mu isamaa on minu arm”(我的祖国是我的爱),故事片Viimne reliikvia(最后的遗迹)的歌曲,Paul-Eerik Rummo的歌词,以及“Laul Põhjamaast”(“北方土地之歌”),Enn Vetemaa的歌词。这也代表了文本可以发挥作用的三种方式:“Mu isamaa on minu arm”最初是作为诗歌写作和出版的,后来被谱成音乐;《最后的遗物》代表了一种情况,即文本最初以歌词形式写成,后来以诗集的形式出版;Enn Vetemaa的《北国之歌》原本是一首歌曲,至今仍是一首歌曲,没有被收录在诗集中。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Role of Lyrics in Estonian Literature: Three Exemplary Cases
Song lyrics are usually positioned in the margins of literature and tend not to be in the first line when writers and their works are discussed. There have been debates about whether to consider lyrics as literature and/ or ‘real poetry’. The article examines three cases in Estonian literature where melodised poetic texts have played a significant role in Estonian culture and are considered to be core texts: “Mu isamaa on minu arm” (My Fatherland is My Love) by Lydia Koidula, songs from the feature film Viimne reliikvia (The Last Relic), lyrics written by Paul-Eerik Rummo, and “Laul Põhjamaast” (“Song of the Northern Land”), lyrics by Enn Vetemaa. These also represent three ways a text can function: “Mu isamaa on minu arm” was first written and published as a poem and later set to music; The Last Relic represents a case where texts were initially written as lyrics and later published in a collection of poems; “Song of the Northern Land”, by Enn Vetemaa, was meant to be and has remained a song and has not been included in poetry collections.
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来源期刊
Interlitteraria
Interlitteraria LITERATURE-
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