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论文作者:留学生论文论文属性:硕士毕业论文 thesis登出时间:2024-03-31编辑:vicky点击率:289

论文字数:42522论文编号:org202403271139297724语种:英语 English地区:中国价格:$ 66




Chapter One The Explicit Indication of Music in Carson McC ullers’ Fiction

1.1 Musical characters with similar fates

McCullers arranges characters involving music in each novel. Most of them are not professional musicians, but music of lovers are fascinated with playing music. Music for McCullers is a tool for creating a narrative atmosphere or delineating the more complex character so as to achieve the readability and variety of the story. Also, one of her novels has a musical name that expresses directly the imitation of music in the literary text. 

There are some musical references in The Heart Is a Lonely Hunter, McCullers’ first novel. Mick Kelly is an underage girl who is fascinated with music. She uses music to escape the marginalized situation and impoverished family. Although she fails at last, the process of fighting is still worth analyzing. The Heart Is a Lonely Hunter, originally titled The Mute, takes its name from the poem The Lonely Heart by William Sharp, “Deep Deep in the heart of Summer, sweet is life to me still, But my heart is a lonely hunter that hunts on a lonely hill. (William 23)” 

Mick Kelly in The Heart Is a Lonely Hunter and Frankie Addams in The Member of the Wedding are the representatives of adolescent women by Carson McCullers. McCullers obviously and repeatedly delineates the similar experience of adolescent girls, especially their acoustic sense of music. They both experience a sense of not belonging in the world and have no ideas of their personal fates or gender choice. Here, McCullers casts her female character Mick in a male role with a male countenance. They both look like young boys with short hair and giant body differs from the other traditional southern girls. 


1.2 Musical discourse and its thematic implication

The discourse level of intratextual thematization covers the meaning of the text by referring to musical effects. Readers seemingly listen to the music on the surface and accept the real meaning of the text. 

Almost every book by Carson McCullers has examples of discourse thematization, here we use the discourse between Jester and Sherman in Clock Without Hands as the typical one. This novel is McCullers’ last one, which is considered to be the most radical one that faces directly to racism in southern society. We can see how racism affects a seventeen-year-old back boy in his mind. 

Suddenly Sherman began to pound on middle C, over and over. “What’s that?” asked Jester, “just middle C?” “How many vibrations are there in the treble?” “What kind of vibrations are you talking about?” “The teeny infinitesimal sounds that vibrate when you strike middle C or any other note.”…Again Sherman pounded middle C, first with the right forefinger, then with the left. “How many vibrations do you hear in the bass?” “Nothing,” Jester said. “There are sixty-four vibrations in the treble and another sixty-four in the bass … I’m just telling you I hear every teeniest vibration in the whole diatonic scale from here…About my race and how I register every single vibration that happens to those of my race. I call it my black book.”(McCullers, Clock,  66)  论文英语论文网提供整理,提供论文代写英语论文代写代写论文代写英语论文代写留学生论文代写英文论文留学生论文代写相关核心关键词搜索。

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