{"title":"《变形记》和《塞丽娜","authors":"Elisabeth Le Guin","doi":"10.1080/01411896.2021.1949308","DOIUrl":null,"url":null,"abstract":"Thus Bartolomé de las Casas, conveying the experiences of Cristóbal Colón on his first voyage to what he thought were the Indies. The translation is necessarily ambiguous; “alguna manera” can signal a negative or a qualified positive, and the difference is only knowable in live speech. As such, this passage gestures toward metamorphosis through its necessary relation to performance, as well as in its content. Colón’s “serenas” looked somewhat human; they looked not at all human. They apparently did not sing—which, if they were manatees, as commentators have suggested given the Caribbean setting, is not surprising. Or perhaps they did sing, and were not heard; history suggests that Colón was not a very good listener. We are talking about metamorphosis here, and instability is the point rather than taxonomical certitude. I am not the first musicologist to love the Sirens, and, the high cost notwithstanding, I suspect I will not be the last. They are peerless icons of the lability of signification, and for its rich untrustworthiness when it becomes entangled with matters of identity. 09 de enero de 1493 January 9th, 1493 El día pasado, cuando el Almirante iba al Río de Oro,dijo que vido tres serenas que salieron bien alto de la mar, pero que no","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Metamorphosis and the Sirena\",\"authors\":\"Elisabeth Le Guin\",\"doi\":\"10.1080/01411896.2021.1949308\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Thus Bartolomé de las Casas, conveying the experiences of Cristóbal Colón on his first voyage to what he thought were the Indies. The translation is necessarily ambiguous; “alguna manera” can signal a negative or a qualified positive, and the difference is only knowable in live speech. As such, this passage gestures toward metamorphosis through its necessary relation to performance, as well as in its content. Colón’s “serenas” looked somewhat human; they looked not at all human. They apparently did not sing—which, if they were manatees, as commentators have suggested given the Caribbean setting, is not surprising. Or perhaps they did sing, and were not heard; history suggests that Colón was not a very good listener. We are talking about metamorphosis here, and instability is the point rather than taxonomical certitude. I am not the first musicologist to love the Sirens, and, the high cost notwithstanding, I suspect I will not be the last. They are peerless icons of the lability of signification, and for its rich untrustworthiness when it becomes entangled with matters of identity. 09 de enero de 1493 January 9th, 1493 El día pasado, cuando el Almirante iba al Río de Oro,dijo que vido tres serenas que salieron bien alto de la mar, pero que no\",\"PeriodicalId\":42616,\"journal\":{\"name\":\"JOURNAL OF MUSICOLOGICAL RESEARCH\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2021-07-03\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"JOURNAL OF MUSICOLOGICAL RESEARCH\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/01411896.2021.1949308\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"JOURNAL OF MUSICOLOGICAL RESEARCH","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/01411896.2021.1949308","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 0
摘要
这就是巴托罗米奥·德·拉斯·卡萨斯在他第一次航行到他所认为的印度群岛时所表达的Cristóbal Colón的经历。翻译必然是模棱两可的;“藻毛”既可以表示否定,也可以表示有条件的肯定,两者的区别只有在现场讲话中才能知道。因此,这篇文章通过它与表演的必然关系,以及在它的内容中,表明了它的蜕变。Colón的“serenas”看起来有点像人类;他们看起来一点也不像人类。它们显然不会唱歌——如果它们是海牛,就像评论员所说的那样,考虑到加勒比海的环境,这并不奇怪。也许他们唱过,却没有人听见;历史表明Colón并不是一个很好的倾听者。我们在这里讨论的是变态,不稳定性是重点,而不是分类学上的确定性。我不是第一个喜欢塞壬的音乐学家,而且,尽管代价高昂,我想我不会是最后一个。它们是无可比拟的象征,象征着意义的不稳定性,以及当它与身份问题纠缠在一起时,它丰富的不可靠性。1493年1月9日,1493年1月9日,El día pasado, cuando El Almirante iba al Río de Oro,dijo que video res res serenas que salieren en alto de la mar, pero que no
Thus Bartolomé de las Casas, conveying the experiences of Cristóbal Colón on his first voyage to what he thought were the Indies. The translation is necessarily ambiguous; “alguna manera” can signal a negative or a qualified positive, and the difference is only knowable in live speech. As such, this passage gestures toward metamorphosis through its necessary relation to performance, as well as in its content. Colón’s “serenas” looked somewhat human; they looked not at all human. They apparently did not sing—which, if they were manatees, as commentators have suggested given the Caribbean setting, is not surprising. Or perhaps they did sing, and were not heard; history suggests that Colón was not a very good listener. We are talking about metamorphosis here, and instability is the point rather than taxonomical certitude. I am not the first musicologist to love the Sirens, and, the high cost notwithstanding, I suspect I will not be the last. They are peerless icons of the lability of signification, and for its rich untrustworthiness when it becomes entangled with matters of identity. 09 de enero de 1493 January 9th, 1493 El día pasado, cuando el Almirante iba al Río de Oro,dijo que vido tres serenas que salieron bien alto de la mar, pero que no
期刊介绍:
The Journal of Musicological Research publishes original articles on all aspects of the discipline of music: historical musicology, style and repertory studies, music theory, ethnomusicology, music education, organology, and interdisciplinary studies. Because contemporary music scholarship addresses critical and analytical issues from a multiplicity of viewpoints, the Journal of Musicological Research seeks to present studies from all perspectives, using the full spectrum of methodologies. This variety makes the Journal a place where scholarly approaches can coexist, in all their harmony and occasional discord, and one that is not allied with any particular school or viewpoint.