阉割遗存——或者说,为音乐风格的尸体注入活力

IF 0.2 1区 艺术学 0 MUSIC
Jessica Gabriel Peritz
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引用次数: 0

摘要

本文考虑了十九世纪音乐史学中阉人的幽灵来世,将他们视为档案“材料”和具体音乐体验之间的跨历史媒介。这篇文章首先概述了18世纪晚期情感、艺术史和美学的相关概念——从感性的经验潜力到j·j·温克尔曼对古典艺术的系统化——它邀请人们想象某些身体能够感知历史,反过来,通过艺术风格呈现历史“可感知”。将这些历史线索与最近的酷儿时间性和酷儿美学理论进行对话,文章认为阉割歌手被塑造成曾经活着的艺术对象,因此在音乐上、戏剧上和身体上都投入了与物质文化文物相关的混合时间性,使后来的作家能够将阉割作为过去音乐风格的短暂性和历史情境性的物化。从概括的阉割者形象到一个特别突出的例子,文章接着关注三位作家对Gasparo Pacchierotti(1740-1821)的表现。这里讨论的作者——亚历山德罗·佩波利(1790年代)、司汤达(1820年代)和弗农·李(1880年代)——都把帕基罗蒂描绘成这位歌手的18世纪晚期与作家自己的混合现实之间的摩擦的化身。帕基罗蒂分别被想象成一个活生生的人,一个被记忆的声音,和一个物质的遗迹,每个人都抓住了音乐史的局限性和风险。最终,阉割者从这些散落的遗迹中脱颖而出,成为困扰历史编纂的情感、小说和幻想的幽灵。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Castrato Remains—or, Galvanizing the Corpse of Musical Style
This article considers the spectral afterlives of castrati in nineteenth-century music historiography, reading them as transhistorical mediators between the “stuff” of archives and embodied musical experience. The article first sketches out the germane late eighteenth-century notions of feeling, art history, and aesthetics—from the empirical potential of sensibility to J. J. Winckelmann's systematization of classical art—that invited people to imagine certain bodies as capable of sensing history and, in turn, of rendering history “sense-able” through artistic style. Bringing these historical threads into dialogue with recent theories of queer temporality and queer aesthetics, the article argues that castrato singers were cast as once-living art objects and thereby invested musically, dramaturgically, and bodily with the same hybrid temporalities associated with artifacts of material culture—enabling later writers to invoke castrati as having materialized both the ephemerality and the historical situatedness of past musical styles. Moving from the generalized castrato figure to one particularly salient example, the article then focuses on three writers' representations of Gasparo Pacchierotti (1740–1821). The authors discussed here—Alessandro Pepoli (1790s), Stendhal (1820s), and Vernon Lee (1880s)—each portrayed Pacchierotti as embodying the frictions between the singer's late eighteenth-century moment and the writer's own hybrid present. Imaginatively encountering Pacchierotti as, respectively, a living body, a remembered voice, and material remains, each grappled with the limitations—and the stakes—of music histories. Ultimately, the castrato emerges from these scattered remains as a ghost of the feelings, fictions, and fantasies that haunt historiography.
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来源期刊
CiteScore
0.90
自引率
0.00%
发文量
8
期刊介绍: The widely-respected Journal of Musicology enters its third decade as one of few comprehensive peer-reviewed journals in the discipline, offering articles in every period, field and methodology of musicological scholarship. Its contributors range from senior scholars to new voices in the field. Its reach is international, with recent articles by authors from North America, Europe and Australia, and circulation to individuals and libraries throughout the world.
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