文學與音樂中的流變：鮑勃．狄論的曖昧與自由

Abstract

本論文探索鮑勃．狄倫的「曖昧」與電子搖滾所成就的自由。藉由提出狄倫在一九六零年中期時所採取的曖昧措辭，本研究指出此文學表達方式體現了德勒茲與瓜達希的「少數文學」。由於「少數文學」意旨一種逃離文學中「疆域化」與其同質性概念的書寫方式，這部分的分析展現了狄倫的「曖昧」在面對民謠音樂的政治立場時，同樣以書寫的方式挑戰且脫離了民謠所持的僵化狀態。 其次，由於「少數文學」最終走會因為脫離固定化狀態而達到不受限制的創造力，此分析也利用了德勒茲與瓜達希的「流變」來解說狄倫的「少數文學」在民謠音樂對於政治的關懷裡，有何種具創造性的發展。最後，關於音樂層面的研究聚焦在「流變」中的「生成音樂」上。此概念分析了伴隨著曖昧措辭的電子搖滾曲風是如何同時挑戰民謠音樂的固定型態，並且點出這種解放能夠呼應「少數文學」中的「流變」與其自由。基於以上論點，本論文試圖說明狄倫的曖昧與電子搖滾並非單純的背離了民謠音樂對政治的關懷。事實上，此書寫方式與曲風是一種不段從固定化狀態裡獲取自由並實踐創造力的手法。

This thesis explores a liberation attained through Bob Dylan's expression of ambiguity and the musical style of electric rock. By drawing on the ambiguity Dylan adopted within the folk music community in the mid-1960s, my study identifies a practice of Deleuze and Guattari's minor literature such expression had performed. Moreover, while minor literature indicates an escape from the territorializing writing conventions and the homogenous ideas they produce, this analysis further reveals how Dylan's minor literature allows creativity in the liberation from the stagnated state. This creativity, which goes beyond the political concerns of folk music, is construed through Deleuze and Guattari's notion of becoming. Besides, I investigate another becoming brought by Dylan's electric rock. As a musical expression that simultaneously emerged with the ambiguity, the electric rock similarly sets Dylan free from the folk music convention and its idiosyncrasy. To justify this, the analysis showcases a liberation over music through Deleuze and Guattari's concept of becoming-music. Above all, my thesis intends to demonstrate what Dylan's ambiguity and electric rock do other than being a mere deviation in the folk music revival. Most importantly, such an approach exhibits creativity in liberation.