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①本文所引相关引文均出自Schafer R.Murray,The Soundscape:Our Sonic Environment and the Tuning of the World(New York:Knopf,1977).以下只标注页码，不再一一说明。 ②Schafer R.Murray,The Soundscape:Our Sonic Environment and the Tuning of the World(New York:Knopf,1977)9.“figure”译作“形”似乎更为合适。 ③"The function of the drone has long been known in music.It is an anti-intellectual narcotic.It is also a point of focus for meditation,particularly in the East." Schafer R.Murray.The Soundscape:Our Sonic Environment and the Tuning of the World(New York:Knopf,1977)79. ④陆正兰：《歌词学》(北京：中国社会科学出版社，2007年)96-97。作者认为，殷孟伦《子云乡人类稿》[(齐鲁书社，1985年)287-288)]中列出的叠字中，还有许多没有实词化，如“死搭搭”“怒吽吽”“实辟辟”“热汤汤”“冷湫湫”等。 ⑤赫尔曼·沃克的《战争与回忆》中，二战中幸存的犹太儿童路易斯因饱受刺激而罹患失语症，与亲人重逢之后，其母娜塔丽用意第绪语儿歌成功地引导其开口发声，此举如“突然迸射的强烈光芒”把在场者“照得眼睛发花了”。赫尔曼·沃克：《战争与回忆》(4)，主万 叶冬心译(北京：人民文学出版社，1981年)1737-41。 ⑥"Lolita,light of my life,fire of my loins.My sin,my soul,Lo-lee-ta:the tip of the tongue taking a trip of three steps down the palate to tap,at the three,on the teeth.Lo.Lee.Ta../She was Lo,plain Lo,in the morning,standing four feet ten in one sock.She was Lola in slacks.She was Dolly in school.She was Dolores on the dotted line.But in my arms she was always Lolita." Vladimir Nabokov,Lolita(New York:Fawcett Publishing Co.,1957)11.按,“虚线上的多洛莉”(Dolores on the dotted line)指“多洛莉”为正式名，因而用于在信封、文件上用虚线画出供签名的位置。 ⑦“我所谓的听觉想象力是对音乐和节奏的感觉。这种感觉深入到有意识的思想感情之下，使每一个词语充满活力：深入最原始、最彻底遗忘的底层，回归到源头，取回一些东西，追求起点和终点。”Eliot T.S.,The Use of Poetry and the Use of Criticism(New York:Barnes & Noble,1955)118. (责任编辑：admin) |