编者按：政治、哲学上有德法之争，音乐上也有！关于这场19世纪的德法音乐之争，国内的研究较少。我们给大家推荐这篇研究论文，主要还是自己阅读之用。希望有热情和能力的朋友，一起参与我们的编译事业，把类似这样的论文翻译出来。下面就是这篇《尼采、德彪西和瓦格纳的影子》（作者Tekla Babyak）的论文摘要，我们坚持中英对照，先英后中，帮助大家提供阅读！也欢迎大家纠错！
原文：Debussy was an ardent nationalist who sought to purge all German (especially Wagnerian) stylistic features from his music. He claimed that he wanted his music to express his French identity. Much of his music, however, is saturated with markers of exoticism. My dissertation explores the relationship between his interest in musical exoticism and his anti-Wagnerian nationalism. I argue that he used exotic markers as a nationalistic reaction against Wagner. He perceived these markers as symbols of French identity. By the time that he started writing exotic music, in the 1890's, exoticism was a deeply entrenched tradition in French musical culture. Many 19th-century French composers, including Felicien David, Bizet, Massenet, and Saint-Saëns, founded this tradition of musical exoticism and established a lexicon of exotic markers, such as modality, static harmonies, descending chromatic lines and pentatonicism. Through incorporating these markers into his musical style, Debussy gives his music a French nationalistic stamp. 
译文：德彪西是一个热心的民族主义者, 试图从他的音乐中清除所有德国(尤其是瓦格纳) 的音乐体裁特征。他声称他想要通过他的音乐来彰显他法国人的身份。然而, 他的大部分音乐都充斥着异国情调音乐的标志。本文探讨了他对异国情调音乐的兴趣同他反瓦格纳民族主义之间的联系。我认为他用音乐中的异国风格标志表明他作为民族主义者的反瓦格纳立场。他认为这些异国音乐标志是法国身份的象征。当1890年他开始创作异国风格的音乐时, 异国情调音乐是法国音乐文化中根深蒂固的传统。许多第十九世纪的法国作曲家, 例如费利西安·大卫、比才、马斯奈和圣桑, 他们创立了异国情调音乐的传统并建立起一套异国情调的音乐术语词汇表, 如调式、静态和声、下行半音阶旋律线和五声音阶体系。德彪西通过将这些音乐标志融入他的音乐风格中, 为他的音乐烙上法国民族主义的印迹。
原文：I argue that the German philosopher Nietzsche shaped Debussy's nationalistic attitude toward musical exoticism. In 1888, Nietzsche asserted that Bizet's musical exoticism was an effective antidote to Wagner. Nietzsche wrote that music should be "Mediterranized," a dictum that became extremely famous in fin-de-siècle France. Nietzsche's influence on fin-de-siecle musical culture has not been examined in current secondary literature on French music. In my dissertation, I show that Nietzsche's dictum was widely discussed in the French press between 1893 and 1920. In periodicals from that time period, music critics such as Louis Laloy and Lionel de la Lawrencie contend that many French composers are following Nietzsche's dictum by writing exotic music. I aim to show that Debussy was one of the composers who followed this dictum. Influenced by Nietzsche's anti-Wagnerian view of exoticism, Debussy employed exotic markers as a nationalistic strategy of resistance against Wagner.
译文：我认为德国哲学家尼采塑造了德彪西对异国音乐风格的民族主义态度。在 1888年, 尼采断言比才的异国情调音乐是瓦格纳狂热的有效解毒剂。尼采写道, 音乐应该是 "Mediterranized", 这一格言在法国世纪末的作品中名胜一时。尼采对世纪末音乐文化的影响在法国音乐的二次文学中没有得到深入研究。在我的论文中, 我指出尼采的格言在1893和1920之间被法国媒体广泛讨论过。在那个时期的期刊中显示, 音乐评论家例如路易斯 Laloy 和莱昂 Lawrencie 争论说, 许多法国作曲家在尼采格言的指引下创作异国情调音乐。我的目的是表明, 德彪西也是尼采格言影响的作曲家之一。在尼采所认为的异国情调反瓦格纳观的影响下, 德彪西运用异国情调的音乐标记作为对抗瓦格纳的民族主义策略。
原文：In making this argument, my dissertation brings together three strands of Debussy's musical thought: nationalism, exoticism and anti-Wagnerism. Each of these strands has received previous scholarly attention, but scholars have not examined the links between them. My project demonstrates that Nietzsche gave Debussy the tools to combine these three strands in his compositions.
译文：在论证过程中，我将德彪西音乐思想的三个层面结合起来：民族主义、异国情调主义和反瓦格纳主义。每一条都得到了学者的关注，但学者们还没有研究过它们之间的联系。我的项目证明了尼采给予了德彪西思想工具，将这三部分有机结合在他的作品中。
索取本书电子版，可在公众号后台输入：瓦格纳，即可免费下载。本文译文错误，欢迎大家文末留言指正，避免以讹传讹。本公众号，将会每周推送1-2外文音乐图书推荐，以及电子版下载，敬请关注。
继续阅读
阅读原文