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完整後設資料紀錄
DC 欄位 | 值 | 語言 |
---|---|---|
dc.contributor.advisor | 李紀舍(Chi-she Li) | |
dc.contributor.author | Yi-En Chen | en |
dc.contributor.author | 陳以恩 | zh_TW |
dc.date.accessioned | 2021-05-20T00:49:06Z | - |
dc.date.available | 2020-08-24 | |
dc.date.available | 2021-05-20T00:49:06Z | - |
dc.date.copyright | 2020-08-24 | |
dc.date.issued | 2020 | |
dc.date.submitted | 2020-08-19 | |
dc.identifier.citation | Aeberhard, Simon. “Writing the Ephemeral. John Cage's Lecture on Nothing as a Landmark in Media History.” Journal of Sonic Studies 13 (2017): 5. Print.
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New York: St. Martin’s Press, 1999. Print. Whitman, Walt, Michael Moon, Sculley Bradley, and Harold W. Blodgett. Leaves of Grass and Other Writings: Authoritative Texts, Other Poetry and Prose, Criticism. New York: Norton, 2002. Print. Wiedorn, Michael. 'Go Slow Now: Saying the Unsayable in édouard Glissant's Reading of Faulkner.' American Creoles: The Francophone Caribbean and the American South. Ed. Martin Munro and Celia Britton. Liverpool UP, 2012. 183-96. Print. | |
dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/8126 | - |
dc.description.abstract | 法蘭克・奧哈拉的作品因為以鮮豔的視覺影像呈現城市生活而著名,然而本論文要聚焦在作品中的聽覺呈現。詩人與聲音親近的程度顯而易見:第一,奧哈拉曾學習鋼琴多年並期許自己成為演奏家;第二,詩人時常在充滿噪音的環境下創作,這些聲音包含收音機音樂、旁人說話的聲音以及街上的汽車聲。雖然在一般情況下,噪音被視為影響創作的混亂因素,但奧哈拉卻格外地接納聲音,似乎將聲音當成創作的靈感。我好奇這些噪音如何影響詩人的創作過程。我將分析這些噪音,在轉化成詩中的形式與內容後,對詩人有何意義,以及這些噪音是否對當時奧哈拉身處的社會,也就是五零、六零年代的紐約,抱持不同於主流社會價值的看法。
第一章探討約翰・凱吉的實驗性音樂如何影響奧哈拉將噪音視為寫作時的重要元素,嵌入詩的形式與內容。凱吉認為音樂應該要包含日常生活的聲音,也就是允許隨機、不可預測的聲音出現在表演當中,同時也在作曲上脫離傳統記譜的束縛。我將比較凱吉的《威廉混音》與奧哈拉的〈離他們一步〉,試著呈現凱吉對於奧哈拉的影響。我也會分析奧哈拉對於音樂的觀點。我認為從他寫給作曲家拉赫曼尼諾夫的生日詩文中想表達在日常生活中聆聽音樂即刻的感受。對他而言,音樂不只是譜上創作的呈現,還包括聆聽環境的噪音。第二章聚焦在詩人充滿噪音的創作環境。我將檢視環境理的噪音,像是談話聲跟科技媒介(打字機、電話和收音機)讓奧哈拉創作時以非人類中心的思考方式創作,並從詩中的形式與內容看到科技媒介的影響。第三章表明噪音在奧哈拉的詩中無所不在,而這些噪音呈現有別於大眾認知的都市空間。這些都市噪音包含街上的噪音、詩中語音的噪音、八卦及談話的噪音、都市身體的噪音、媒介發出的噪音以及思考上的噪音。 | zh_TW |
dc.description.abstract | Frank O’Hara’s works are known for presenting a vibrant visual image of urban life, but in this thesis I intend to focus on the audio aspect of his works. The poet’s attachment to sound is apparent: firstly, O’Hara had once wished to become a concert pianist before becoming a poet; secondly, the poet often writes in an environment surrounded by noises such as radio music, people talking, and street traffic. While noises are normally regarded as intervening during one’s writing process, O’Hara’s high acceptance of them suggests that he sees noises as inspirational. I am curious how these noises influence the poet’s creating process. In addition, I will analyze what these noises, by becoming the form and content of poetry, mean to the poet, and whether they suggest anything against the social values of 50s and 60s of New York.
Chapter One discusses how John Cage’s experimental music inspires O’Hara to embrace noise as an essential element in the form and content of writing. Cage believes that music should be about everyday life, which means allowing unpredictable sounds to appear while breaking away from traditional notations. I illustrate Cage’s influence on O’Hara with a comparison between the former’s Williams Mix and the latter’s “A Step Away From Them.” In addition, I will analyze O’Hara’s attitude toward music in his poems dedicated to Rachmaninoff, arguing that the poet emphasizes the instant feeling he gets from listening to music in his daily environment. Chapter Two focuses on the poet’s writing sites, which interestingly, are often full of noises. I will investigate how noises from these sites, namely, noises of talk and technological mediums (the typewriter, the telephone, and the radio) allows O’Hara to write with a non-human-centered mindset, influencing the form and content of his poetry. Chapter Three will demonstrate that urban noises populate O’Hara’s works, presenting an alternative urban space that is different from the norm. These noises are noises of the street, noises of speech-sounds, talk and gossip, noises of the urban body, noises from technological media and finally noises of the thought. | en |
dc.description.provenance | Made available in DSpace on 2021-05-20T00:49:06Z (GMT). No. of bitstreams: 1 U0001-1908202000401100.pdf: 1683614 bytes, checksum: def0653fca3f42ecfb925f5ece9bd1dc (MD5) Previous issue date: 2020 | en |
dc.description.tableofcontents | Table of Contents
Acknowledgments i Chinese Abstract ii English Abstract iii Introduction 1 One Experimental Music and Rachmaninoff’s Birthday Poems 25 Two Noise at the Writing Site 48 Three Urban Noises of Lunch Poems 66 Conclusion 86 Works Cited 89 | |
dc.language.iso | en | |
dc.title | 噪音與法蘭克・奧哈拉的《午餐詩集》 | zh_TW |
dc.title | Noise and Frank O’Hara’s Lunch Poems | en |
dc.type | Thesis | |
dc.date.schoolyear | 108-2 | |
dc.description.degree | 碩士 | |
dc.contributor.oralexamcommittee | 曼紐爾(Manuel Herrero Puertas),狄亞倫(Aaron Deveson) | |
dc.subject.keyword | 法蘭克・奧哈拉,噪音,科技媒介,約翰・凱吉,能動性,都市空間,原真性, | zh_TW |
dc.subject.keyword | Frank O'Hara,noise,media technologies,John Cage,agency,urban space,authenticity, | en |
dc.relation.page | 93 | |
dc.identifier.doi | 10.6342/NTU202004050 | |
dc.rights.note | 同意授權(全球公開) | |
dc.date.accepted | 2020-08-19 | |
dc.contributor.author-college | 文學院 | zh_TW |
dc.contributor.author-dept | 外國語文學研究所 | zh_TW |
顯示於系所單位: | 外國語文學系 |
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