臺灣博碩士論文加值系統

吉恩圖瑪在《甘蔗》一書中，以三個獨立的章節結合詩歌、短篇故事與戲劇以及美國南方與北方二地不同的生活場景。《甘蔗》因為跳脫一般文類的格式與要求結構完整的原則，而在哈林文藝復興中佔有特殊的地位。美國的黑人音樂傳統是《甘蔗》裡很重要的要素，其文本結構不但融合了「藍調反覆」、「爵士即興」和「呼喊與回應」的音樂形式，也藉由這些形式來傳達美國黑人無以名之的傷痛以及深層的情感。本篇論文分析《甘蔗》的音樂性結構，探討吉恩圖瑪如何運用藍調和爵士樂中的「反覆」、「即興」和「呼喊與回應」之音樂元素來呈現他的美學觀點，並描繪美國社會裡黑人民間文化的活力與種族隔離所帶來的衝突。
本論文共分為三章，每一章將分析音樂性結構如何建構並影響文本的內容。《甘蔗》的第一章節的背景建立在美國南方的喬治亞州，由六個描寫六位女主角的短篇故事，和十首穿插在短篇故事之間的詩歌所組成。論文第一章針對文本的第一個章節，分析圖瑪如何把藍調的「反覆」與「呼喊與回應」的音樂結構帶入短篇故事與詩歌的書寫之中，並藉此描寫美國黑人的鄉間生活。《甘蔗》的第二個章節有五首詩歌，三篇短篇故事與三首散文詩歌，舞台由南方喬治亞州的鄉村轉換到北方的華盛頓與芝加哥大城，而文本的音樂性結構也由藍調轉變成爵士樂。論文的第二章探討作者如何在文本中運用「爵士即興」的音樂元素來敘述美國黑人在北方城市生活中遭遇到的困境與挑戰。《甘蔗》的最後一個章節是單幕戲劇〈凱布尼斯〉，場景回到南方的喬治亞州，並藉著描述一位來自美國北方的黑人主人公凱布尼斯尋找自我認同的故事連串連前兩個章節的主題。在戲劇中，戲劇結構結合音樂結構，描寫角色為求生存與自我實現的奮鬥過程。論文的第三章分析〈凱布尼斯〉音樂結構如何融入戲劇結構，來呈現主角尋求自我認同的過程。

ean Toomer’s Cane is an important work in African American literature. The book has a special place in the Harlem Renaissance because its structure transcends literary categories or any unifying principle by gathering different genres—poetry, narrative and drama—and different settings of the South and the North into three separate sections. The black musical tradition is a central element of Cane as the structure of the book is woven of blues repetition, jazz improvisation and the call-and-response pattern to voice black people's unspeakable sorrows and deep emotions. In my thesis, I examine the musical structure of Cane to study how Toomer adapts the music elements of blues and jazz—repetition, improvisation, and call-and-response—as his aesthetics to depict the vitality of black folk culture and conflicts of the color line in American society.
I divide my thesis into three chapters, in which I explore how the musical structure defines and enhances each section of Cane. Part 1 of Cane takes place in Georgia and contains six narrative sketches of six women and ten poems interspersed among the sketches. In Chapter One, I examine how Toomer blends the generic forms of narrative and poetry with the blues structure of repetition and the call-and-response pattern to delineate the rural experiences of black people. Part 2 has five poems, four narratives and three prose poems, and the setting moves from Georgia to Washington, D.C., and Chicago. In the progression from the rural South to the urban North, the musical transformation in Part 2 is also forcibly changed from blues to jazz. Toomer's elaboration of jazz improvisation to adumbrate the new dilemmas of black people in the middle section of Cane is discussed in Chapter Two. “Kabnis,” an one-act play, thematically relates Parts 1 and 2 through a story of a Northern black man on his journey to seek the meaning of his identity in the South. In Part 3, the drama combines musical and dramatic structures to present characters’ the striving for survival and fulfillment. In Chapter 3, I emphasize how Toomer imbues the musical structure into the dramatic form of “Kabnis” to describe the protagonist Kabnis’s search for the meaning of his African heritage.

1
Introduction

13
Chapter One
"Pour O pour that parting soul in song":
The Reciprocal Voice of Blues in Cane, Part 1

51
Chapter Two
"Black reddish blood into the white and whitewashed wood":
The Controversial Sound of Jazz in Cane, Part 2

99
Chapter Three
"Been shapin words t fit my soul":
The Dramatic and Musical Structures in Cane, Part 3

122
Conclusion

127
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