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完整後設資料紀錄
DC 欄位 | 值 | 語言 |
---|---|---|
dc.contributor.advisor | 楊建章(Chien-Chang Yang) | |
dc.contributor.author | Tzu-Ying Chuang | en |
dc.contributor.author | 莊子瑩 | zh_TW |
dc.date.accessioned | 2021-06-08T01:44:18Z | - |
dc.date.copyright | 2020-08-24 | |
dc.date.issued | 2020 | |
dc.date.submitted | 2020-08-19 | |
dc.identifier.citation | 一、 專書 (一) 西文 Ashplant, Timothy G., Graham Dawson, and Michael Roper, eds. The Politics of war Memory and Commemoration. Routledge, 2013. Assmann, Aleida. Cultural Memory and Western Civilization: Functions, Media, Archives. New York: Cambridge University Press, 2011. Bach, Steven. Marlene Dietrich: Life and Legend. Minneapolis: University of Minnesota Press, 2013. Bech, James M., and Joseph H. Choate. The Evidence in the Case: A Discussion of the Moral Responsibility for the War of 1914. New York: Grosset Dunlap Publishers, 1915. Bennett, Jill. Empathic Vision. Stanford: Stanford University Press, 2005. Clarke, Eric F. Ways of Listening: An ecological Approach to the Perception of Musical Meaning. New York: Oxford University Press, 2005. Clark, Suzannah, and Alexander Rehding, eds. Music in Time: Phenomenology, Perception, Performance. Cambridge, Massachusetts: Harvard University Department of Music, 2016. DeNora, Tia. Music in Everyday Life. Cambridge: Cambridge University Press, 2000. Erll, Astrid, and Ann Rigney, eds. Mediation, remediation, and the dynamics of cultural memory. Berlin: Walter de Gruyter GmbH Co., 2009. Garde-Hansen, Joanne, Andrew Hoskins, and Anna Reading, eds. Save as... Digital Memories. Basingstoke: Palgrave Macmillan, 2009. Shryane, Jennifer. Blixa Bargeld and Einstürzende Neubauten: German Experimental Music: 'Evading do-re-mi'. Farnham: Ashgate Publishing Limited, 2011. Smyser, W. R. Kennedy and the Berlin Wall. Lanham, Maryland: Rowman and Little field Publishers, 2009. Mosse, George L. Fallen Soldiers: Reshaping the Memory of the World Wars. New York: Oxford University Press, 1990. Neiger, Motti, and Oren Meyers, Eyal Zandberg, eds. On Media Memory: Collective Memory in a New Media Age. New York: Palgrave Macmillan, 2011. Reeder, Mark. B-Book: Lust Sound in West-Berlin 1979-1989. Translated by Jennifer D. Lew Schneider. Hamburg: Edel Books, 2015. Winter, Jay. Remembering War: The Great War Between Memory and History in the Twentieth Century. New Haven: Yale University Press, 2006. Winter, Jay. War Beyond Words: Languages of Remembrance from the Great War to the Present. Cambridge: Cambridge University Press, 2017. (二)中文及譯著 尼爾・弗格森(Niall Ferguson)。翁嘉聲譯。2015。《世界大戰:20世紀的衝突與西方的沒落》(原:The War of the World: Twentieth-Century Conflict and the Descent of the West)。新北市:廣場出版。 吉見俊哉。蘇碩斌譯。2009。《媒介文化論──給媒介學習者的15講》。台北:群學。 陳香君(Elsa Hsiang-chun Chen)。周靈芝、項幼榕譯。2014。《紀念之外:二二八事件.創傷與性別差異的美學》(原:Beyond Commemoration:The 2-28 Incident, the Aesthetics of Trauma and Sexual Difference)。台北:典藏藝術家庭。 賽斯.諾特博姆(Cees Nooteboom)。李家純譯。2016。《邁向柏林之路:德國土地與歷史的迂迴與謎團》(原:Roads to Berlin: Detours Riddles in the Lands History of Germany)。台北:蔚藍文化。 瑪格蕾特.麥克米蘭(Margaret MacMillan)。鄧峰譯。2019。《巴黎.和會:締造和平還是重啟戰爭?重塑世界新秩序的關鍵180天》(原:Peacemakers: Six Months that Changed the World)。台北:麥田出版。 羅伯.葛沃斯(Robert Gerwarth)。馮奕達譯。2018。《不曾結束的一戰:帝國滅亡與中東歐民族國家興起》(原:The Vanquished: Why the First World War Failed to End, 1917-1923)。台北:時報出版。 蘇珊.桑塔格。《旁觀他人之痛苦》(原:Regarding the Pain of Others)。陳耀成譯。2016。台北:麥田出版。 二、單篇文章 (一)西文 Assmann, Aleida. “The Holocaust – a Global Memory? Extensions and Limits of a New Memory Community.” In Memory in a Global Age: Discourses, Practices and Trajectories, edited by Aleida Assmann and Sebastian Conrad, 97-118. Basingstoke: Palgrave Macmillan, 2010. Bolter, David Jay, and Richard Grusin. “Introduction.” in Remediation: Understanding New Media, 2-19. Massachusetts: The MIT Press, 1999 Clarke, Eric F. “Music, Space and Subjectivity.” In Music, Sound and Space: Transformations of Public and Private Experience, edited by Georgina Born, 90-110. Cambridge: Cambridge University Press, 2013. Dibben, Nicola. “What Do We Hear, When we Hear music? Music Perception and Musical Material.” In Musicae Scientiae, 5(2001), 161-94. Garde-Hansen, Joanne, Andrew Hoskins, and Anna Reading. ”Introduction.” In Save As… Digital Memories, edited by Joanne Garde-Hansen, Andrew Hoskins and Anna Reading. Basingstoke: Palgrave Macmillan, 2009. Hoskins, Andrew. “Digital Network Memory.” In Media and Cultural Memory, edited by Astrid Erll and Ansgar Nünning, 91-108. Berlin: Walter de Gruyter GmbH Co., 2009. Jaumain, Serge et. al. “A Comparative Look at a Centenary. A Review of World War I Commemorative Events in Brussels.” In Brussels Studies, no. 116 (2017), URL: http://journals.openedition.org/brussels/1586. Merrill, Samuel. “Walking Together? The Mediatised Performative Commemoration of 7/7’s Tenth Anniversary.” In Journalism, Vol. 20(10) (2019), 1360-1378. Shryane, Jennifer. “’A Small Utopia’: Unterstürzer not Anhänger. Einstürzende Neubauten’s Supporter Initiative.“ In Popular Music, Vol. 29(3) (2010), 373-396. Simun, Miriam. “My Music, My World: Using the MP3 Player to Shape Experience in London.” In New Media Society, Vol. 11(6) (2009), 921-941. Winter, Jay. “Shell-Shock and the Cultural History of the Great War.” in Journal of Contemporary History, Vol. 35 (1) (2000), 7-11. (二)中文 朱元鴻。2014。〈正義與寬恕之外:戰爭、內戰與國家暴行之後的倫理〉,收於《戰爭與社會:理論、歷史、主體經驗》,汪宏倫編,349-392。台北:聯經出版。 黃涵榆。2013。〈「歷史可以被原諒,但不能遺忘」,或生命的歸零?有關檔案、見證與記憶政治的一些哲學思考〉。《文山評論:文學與文化》6 (2),53-92。 蘇碩斌。2014。〈口語在人間:評述Walter Ong的Orality and Literacy〉。《傳播研究與實踐》 4 (2),261-274。 四、網路資源 (一) 《輓歌》訪談、報導與評論 1. 西文 Avidar, Sand. “Beyond the Barrage: Einstürzende Neubauten’s Lament Live.” The Quietus. November 20, 2014. http://thequietus.com/articles/16741-einsturzende-neubauten-lament-live-review. Bohn, Chris. “Lament.” Neubauten.org. November 2014. https://neubauten.org/en/lament. Cassarino, Charlie. “LIVE REVIEW: Einstürzende Neubauten, DR Koncerthuset, 19.09.2015.” Here Today: ONLINE MUSIC MAGAZINE BASED IN COPENHAGEN DENMARK. September 21, 2015. http://heretoday.dk/live-review-einsturzende-neubauten-dr-koncerthuset-19-09-2015/. Fontenoy, Maryna. “Einstürzende Neubauten (Live at Koko).” Freq. 19 November, 2014. http://freq.org.uk/reviews/einsturzende-neubauten-live-at-koko/. Frost, Matt. “Einstürzende Neubauten’s LAMENT.” Sound On Sound. February, 2015. http://www.soundonsound.com/people/einsturzende-neubautens-lament. Gutmair, Ulrich. “On Stage I Wear a Postmodern Paper Copy of Marlene Dietrich’s Famous Swansdown Coat.” Translated by havannaanna. Seelebrennt Archive. 5 November 2014. https://seelebrenntarchive.wordpress.com/2014/11/08/on-stage-i-wear-a-postmodern-paper-copy-of-marlene-dietrichs-famous-swansdown-coat/. Havannaanna. “Einstürzende Neubauten – Lament Live in Capitol, Hannover.” Seelebrennt Archive. 12 November, 2014. https://seelebrenntarchive.wordpress.com/2014/11/12/einsturzende-neubauten-lament-live-in-capitol-hannover/. Müller, Saska. 'UNEARTHING OBSCURE ASPECTS OF WORLD WAR I: INTERVIEW WITH BLIXA BARGELD.” Translated by Eric Rosencrantz. Goethe-Institut France. November, 2014. http://www.goethe.de/ges/prj/nzv/par/en13568802.htm. Nica, Ioana. “Einstürzende Neubauten – ‘LAMENT’ Live @ Ancienne Belgique, Brussels – 28 May 2015.” ConcertMonkey. 28 May, 2015. http://www.concertmonkey.be/reports/einstürzende-neubauten-lament-live-ancienne-belgique-brussels-–-28-may-2015. Petridis, Alexis. “Einstürzende Neubauten: Lament Review.” The Guardian. December 4, 2014. https://www.theguardian.com/music/2014/dec/04/einsturzende-neubauten-lament-review-first-world-war. Robb, John. “Einsturzende Neubauten Have Just Released One of the Albums of the Year- in Depth Interview with Blixa Bargeld.” Louder Than War. October 31, 2014. http://louderthanwar.com/einsturzende-neubauten-have-just-released-one-of-the-albums-of-the-year-in-depth-interview-with-blixa-bargeld/. Robinson, John. “Commemorative Elegy of First World War: The German Industrial Band Einstürzende Neubauten Uncover Forgotten Stories, Sounds and Voices to Mark the Great War’s Centenary.” Arts Culture. The National. November 6, 2014. http://www.thenational.ae/arts-lifestyle/the-review/german-rock-group-present-a-commemorative-elegy-of-first-world-war. Wolfe, Morgan. „Einstürzende Neubauten – Lament (Master Post).“ Seelebrennt Archive. Last revised 10 November, 2014. https://seelebrenntarchive.wordpress.com/2014/11/08/einsturzende-neubauten-lament-master-post/. Zylka, Jenni. “Einstürzende Neubauten - ‘Lament’, Blixa Bargeld: ‘Am Ende schreit ein Pfau: Hitler!” Tagesspiegel. 6 November, 2014. https://www.tagesspiegel.de/kultur/einstuerzende-neubauten-lament-blixa-bargeld-am-ende-schreit-ein-pfau-hitler/10938894-all.html. 2. 中文 Chow, Lulu。2015。〈一种寂静的生活:采访倒塌的新建筑主唱 BLIXA BARGELD〉。Vice中国。http://noisey.vice.cn/read/we-interviewed-blixa-bargeld-in-beijing。 (二)歷史文獻 Germany, Auswärtiges Amt. The German White-Book (Only Authorized Translation) (New York City: The Fatherland, 1915). https://hdl.handle.net/2027/mdp.39015063010766?urlappend=%3Bseq=3. (三)其他網頁文章 1. 西文 Copping, Jasper. “Germany Intervenes in WW1 Commemoration Debate.” The Telegraph. 18 August 2013. http://www.telegraph.co.uk/history/world-war-one/10249760/Germany-intervenes-in-WW1-commemoration-debate.html. Hedges-Stocks, Zoah. “First World War: Royals Help Plant Poppies at Tower of London.” The Docklands East London Advertiser. Last revised 5 August 2014. https://www.eastlondonadvertiser.co.uk/news/heritage/first-world-war-royals-help-plant-poppies-at-tower-of-london-1-3714824. Oltermann, Philip. “Germany’s Low-Key Plans for First World War Centenary Criticised: No Plans for Angela Merkel to Attend Events as Germany Puts Aside €4m to Mark war, while UK and France Spend €60m each.” The Guardian. 2 March 2014. http://www.theguardian.com/world/2014/mar/02/germany-plans-first-world-war-centenary. Synková, Tatyana. “WEST BERLIN – ISLAND OF FREEDOM.” Translated by Jonathan Uhlaner. Goethe Institut. March 2015. https://www.goethe.de/en/kul/bku/20495247.html. Weirdestband. “Weird Album Review: The Tiger Lillies, ‘A Dream Turns Sour’.” Weirdest Band In the World. 5 July, 2014. https://weirdestbandintheworld.com/2014/07/05/weird-album-review-the-tiger-lillies-a-dream-turns-sour/. 2. 中文 林柏樫、廖伊梵。2014。〈特寫: 一戰百年紀念 罌粟花下的故事。〉 BBC中文網。https://www.bbc.com/zhongwen/trad/uk/2014/11/141110_the_story_of_poppy。 (四)線上詞條 Britannica Academic. s. v. 'National anthem.' Accessed April 4 2020, https://academic.eb.com/levels/collegiate/article/national-anthem/54948. Lexikon Westfälischer Autorinnen und Autoren – 1750-1950. S. v. “Joseph Plaut.” (116209046) Accessed 17 November 2019. (https://www.lexikon-westfaelischer-autorinnen-und-autoren.de/autoren/plaut-joseph/#biographie) London, Justin. “Rhythm.” Grove Music Online. 2001; Accessed 20 December 2018. (http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000045963?rskey=Yh72dC result=2) OED Online. s. v. 'genocide, n.'. Oxford University Press. Accessed May 25 2020. https://www.oed.com/view/Entry/77616?redirectedFrom=genocide . Wachsmann, Klaus, and Patrick O’Connor. 'Cabaret.' Grove Music Online. 2001; Accessed 26 Jan 2020. https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000004505. (五)作品影音及活動官方網頁 14-18 NOW. “14-18 NOW: WW1 Centenary Art Commissions.” Accessed 6 March 2017. https://www.1418now.org.uk/ Art21. „Preview: Susan Philipsz in Season 9 of Art21 ‘Art in the Twenty-First Century’ (2018).” YouTube. Accessed 10 November, 2018. https://www.youtube.com/watch?v=nckT0LqEqoY. Einstürzende Neubauten. “Lament.” Neubauten.org. Accessed 4 January 2017. https://neubauten.org/en/lament. GoneWest. “GoneWest.” GoneWest: Reflections on the Great War. The Flemish Government. Accessed 9 March 2018. http://www.gonewest.be/en/. Government of Flanders. “GoneWest.” 2014-18: 100 jaar Groote Oorlog. Accessed 17 September 2019 http://www.2014-18.be/achtergrond/gone-west. Kunsthistorisches Museum Wien. “Susan Philipsz - War Damaged Musical Instruments (Pair).” YouTube. April 2015. https://youtu.be/Kf2YzuTDVCA. Mitchell, Barry. “War Damaged Musical Instruments installation Tate Britain 2016.” YouTube. Accessed 16 April 2017. https://www.youtube.com/watch?v=c63EIAZH82g. Neubauten.org. “Einstürzende Neubauten - Blume (japanese).” Vimeo. Accessed 2 December 2019.https://vimeo.com/36591924. No Glory. “NO GLORY in War: the Concert.” Noglory.org. Accessed 8 Jan 2017. http://noglory.org/index.php/multimedia/video/93-no-glory-the-concert-25-10-13#.UsRe57RZhiY. Provincie West-Vlaanderen. “GoneWest.” West-vlaanderen.be. Accessed 11 Nov 2019. https://www.west-vlaanderen.be/gonewest. Stop the War. “Stop the War Coalition.” Stopwar.org.uk. Accessed 17 Sep 2018. http://www.stopwar.org.uk/. The Global Fine Art Awards. “War Damaged Musical Instruments.” YouTube. Accessed 28 May 2017. https://www.youtube.com/watch?v=XwjHmNp0aPM. 四、影音檔案 Einstürzende Neubauten. LAMENT mp4 video. Berlin: Neubauten.org, 2014. USB disk file. Einstürzende Neubauten. Lament. Berlin: Neubauten.org, 2015. USB disk file. 五、非正式出版品 (一)節目冊 Einstürzende Neubauten. Lament, Program: Live Performance 2014. 2014. | |
dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/19077 | - |
dc.description.abstract | 2014年,著名德國樂團「新建築倒塌」受比利時西法蘭德斯省政府委託,推出一戰百年紀念作品《輓歌》。他們以歷史材料為本,創作一系列風格殊異的聽覺作品。本研究以近年媒介技術發展與記憶實踐關係的相關討論為基礎,探討《輓歌》如何透過音聲在媒介質料與形式上具備的特質,重新媒介關於過往的物件、概念或創作,主張《輓歌》藉由這樣的手法,凸顯一戰文化記憶的動態面向,以此形構紀念意義。 本研究將《輓歌》置於全球化的當代文化記憶脈絡,援用阿萊達.阿斯曼的記憶「全球符徵」概念,試圖理解一戰如何藉由音聲創作適應當代脈絡,並借用近年以「再媒介」理解複合媒介記憶實踐的討論,來揭示《輓歌》在前述脈絡下運用既有材料的特殊之處。分析則啟發自強調感知的音樂意義探討,透過留意作品中影響聆聽主體位置的變項,例如紀念命題、歌詞、曲風、發聲體、後製技術、曲式等,指出《輓歌》透過質料、時間與空間等音聲媒介特質,引導聽者以特定的角度,重新經驗既有的記憶材料。研究主張,《輓歌》處理這些材料時看似殊異的種種手法,皆指向材料中影響現今一戰或戰爭紀念普遍想像的諸多動態因素。透過媒介與文化記憶視角的介入,本研究將《輓歌》看似異於一般戰爭紀念的風格,詮釋為針對當今一戰文化記憶符徵的周旋與協調,聽者得以在聆聽中意識到一戰文化記憶並非穩定不變,而是受到各種媒介與記憶實踐的複雜影響並不斷變動,藉此重新協調自身與一戰歷史的關係,進而展現文化記憶實踐的主體性。 | zh_TW |
dc.description.abstract | In 2014, the iconic German band Einstürzende Neubauten launched a WWI commemoration work Lament, commissioned by the Government of Flanders, Belgium. It is composed of a series of acoustic works in diverse styles, based on various historical sources taken from the wartime. The aim of the study is to show how Lament remediates traces of the past in views of the materiality of audio media and other parameters of sound or music. I argue that Lament formulates its musical meaning by revealing the dynamics of cultural memory shaping. The study puts Lament in the context of a globalized, contemporary cultural memory. I adopt Aleida Assmann’s concept of global icon to understand how WWI is adapted to new contexts through artistic production of sound and music. In addition, my analysis shows the unique strategies of interwoven context of mediation and cultural memory in Lament, by emphasizing the “subject-position” in listening, determined by the theme, lyrics, styles, sound objects, audio post-production and music genres. With this perspective, the thesis unveils that Lament’s sonic mechanism, especially on the aspects of materiality, time and space, not only mediates the past, but also reconstructs war memories through generations. Finally, I argue that the diverse composition methods employed by Neubauten show the dynamic aspects that form the common concept of WWI or war commemoration. I then understand Lament’s musical style as a continuous dialogue with WWI as a global icon. I conclude that Lament engages listeners in rethinking the formulation of war memory, by reconfiguring their relationship to WWI history, while their subjectivity is achieved in such practices of cultural memory. | en |
dc.description.provenance | Made available in DSpace on 2021-06-08T01:44:18Z (GMT). No. of bitstreams: 1 U0001-1708202019235500.pdf: 12943402 bytes, checksum: ff1afeb89f36c534a2d459c711738a45 (MD5) Previous issue date: 2020 | en |
dc.description.tableofcontents | 誌謝 i 中文摘要 ii 英文摘要 iii 目錄 iv 圖目錄 vi 表目錄 vii 譜例目錄 viii 第一章 緒論 9 第一節 聆聽當代版本的一戰 9 第二節 《輓歌》與Einstürzende Neubauten 16 一、 「德國的聲音」:《輓歌》與《GoneWest 2014》簡介 16 二、 建築與城市的隱喻:柏林冷戰世代的音聲追跡 22 第三節 紀念什麼樣的一戰?將《輓歌》置入當代媒介記憶脈絡 33 第二章 以全球框架下的媒介記憶作為理解《輓歌》之視角 39 第一節 當代全球媒介文化下的記憶建構 39 一、 記憶的隱憂:一些一戰百年紀念的觀察 39 二、 一戰作為一種全球化脈絡下的文化記憶符徵? 42 三、 當今脈絡下的媒介記憶 46 第二節 聲音、音樂的媒介與其特質 51 一、 藝術作為文化記憶特性的「索引」 51 二、 音聲再媒介:以兩組一戰百年紀念音聲作品為例 53 第三節 聆聽與文化記憶的動態 58 一、 關於聆聽經驗與主體性的相關研究啟發 58 二、 以「符徵再媒介」理解樂曲翻唱 60 第三章 《輓歌》史料、概念的音聲再媒介 83 第一節 聽覺的物質性 84 第二節 文化記憶素材的音聲再媒介 90 一、 書面史料 91 二、 一戰相關文字創作 106 第三節 抽象概念的音聲再媒介 109 一、 時間與空間:〈Der 1. Weltkrieg (Percussion Version) 〉 110 二、 疾病與死亡 :〈Achterland〉 114 三、 廣義「史觀」:〈Der Beginn des Weltkrieges 1914〉 119 第四章 結論 127 參考文獻 131 附錄一 人名中譯對照表 139 附錄二 其他譯名對照表 142 | |
dc.language.iso | zh-TW | |
dc.title | 聆聽一戰:樂團「新建築倒塌」的《輓歌》 | zh_TW |
dc.title | Listening to WWI: Einstürzende Neubauten’s Lament | en |
dc.type | Thesis | |
dc.date.schoolyear | 108-2 | |
dc.description.degree | 碩士 | |
dc.contributor.oralexamcommittee | 汪宏倫(Horng-Luen Wang),沈雕龍(Diau-Long Shen) | |
dc.subject.keyword | 一戰百年紀念,藝術紀念,聆聽,再媒介,新建築倒塌, | zh_TW |
dc.subject.keyword | WWI commemoration,art commemoration,listening,remediation,Einstürzende Neubauten, | en |
dc.relation.page | 142 | |
dc.identifier.doi | 10.6342/NTU202003841 | |
dc.rights.note | 未授權 | |
dc.date.accepted | 2020-08-19 | |
dc.contributor.author-college | 文學院 | zh_TW |
dc.contributor.author-dept | 音樂學研究所 | zh_TW |
顯示於系所單位: | 音樂學研究所 |
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