本文是一篇英语论文，论文认为《阿姆斯特丹》的显性音乐主题化展现了克利夫内心，突出了他鄙视堕落又选择堕落的双重人格；小说对奏鸣曲式的借鉴阐释了其“死亡”和“堕落”的主题；贝多芬《欢乐颂》的“唤起”作用和作为主导动机的莫莉强调了克利夫对自由的渴望。
Chapter One THEORETICAL FRAMEWORK: WERNER WOLF’S MUSICO-LITERARY INTERMEDIALITY
1.1 Definition of Intermediality
The word “intermediality” originates from “medium.” Before “intermediality” is defined, it is necessary to explain “medium” first. Since the term “medium” is abstract, different scholars have made diverse definitions of it. Marshall McL uhan thinks that “medium” has a very broad sense and believes “medium” is any extension of man (McLuhan 3). This definition is so broad that even clothing would become an individual medium. Fortunately, Nünning gives a narrower definition to “medium,” who thinks “medium” is applied to literature as a whole and also applies to institutional and technical “sub-media,” such as the theatre and the book (Wolf, 2018: 130). As for Marie-Laure Ryan, the definition of “medium” should include elements from what she calls “the transmissive definition” and “the semiotic definition” and combine these facets with the element of “cultural use” (qtd. in Wolf, 2018: 130).
Drawing on Marie-Laure Ryan’s views, Wolf believes that “medium” is a means of communication, which is a cultural practice. So, the “medium” has not only a cultural feature but also a particular technical feature (Wolf, 2020: 16). “Medium” includes not only traditional arts such as literature as a linguistic art but also newer forms of expression or communication such as photography, film and digital media.
Since the definition of “medium” is clear, the term “intermediality” is also defined. Wolf claims that “intermediality” means “the participation of more than one medium of expression in the signification of a human artefact” (Wolf, 1999: 1). For example, David Lodge’s Changing Places represents the inclusion of film scripts in the novel (Wolf, 1999: 2). Understanding the definition of “intermediality” can lead to a better understanding of the concept of Wolf’s musico-literary intermediality theory.
1.2 Musico-Literary Intermediality
The word and music study as a discipline begins in the 1960s and is initially called an “interart” discipline. As the intermediality theory develops, many scholars advocate that word and music study should be included in intermediality study. The musico-literary intermediality study, a discipline of interdisciplinary study, is also receiving increasing attention and its influence is growing.
Calvin S. Brown, an American semantic scholar, is one of the essential founders of the interdisciplinary study of literature and music. No systematic exploration of word and music exists before his publishment of Music and Literature: A comparison of the Arts in 1948. This book provides a rough framework for subsequent research which includes the similarities and differences between music and literature, the collaboration of music and literature in vocal music, and the mutual influence between music and literature.
Moreover, Steven Paul Scher, an American literature educator, develops Brown’s research. He divides the word and music study into three forms. The first form is music and literature, and “vocal music” is mainly researched in this form. The second form is music in literature which Scher categorizes into three situations: word music, verbal music and formal and structural analogies. This kind of category plays a significant role in Wolf’s research. The third form is literature in music. Scher’s research provides the basic theoretical framework for subsequent studies on musico-literary intermediality.
Chapter Two EXPLICIT THEMATIZATION OF MUSIC IN AMSTERDAM
2.1 Ian McEwan and Music
Wolf thinks that if an author shows his or her interest in music in his or her letters or essays, which can be used as one form of explicit thematization of music— “contextual thematization” (Wolf, 1999: 56).
McEwan has had a strong interest in music since he was a tee
