The social life of musical instruments
The social life of musical instruments
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乐器的社会生活
DOI：
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发表时间：
2012
期刊：
影响因子：
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通讯作者：
E. Bates
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文献类型：
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作者：
E. Bates
e·安妮·普罗克斯（e . Annie Proulx）的小说《手风琴罪行》（Accordion Crimes）追溯了一架绿色全音阶纽扣手风琴的生活和旅行路线：它诞生于西西里岛的“手风琴制造者”（the Accordion Maker）的工作室，在美洲不同移民社区的遭遇中，它的主人经历了多次更迭，最后在明尼苏达州的Old Glory镇因年久失修而死亡。书中还有其他的手风琴，还有许多临时的人类主人，但这本书的主角是一只特殊的绿色手风琴。我们与其他角色的接触和体验主要是通过他们与绿色手风琴的互动，我们了解到，这个角色的声音“嘶哑而哭泣，提醒听众爱的残酷，各种饥饿”（Proulx 1996:22）。绿色手风琴不仅是人类社会网络的核心，而且本身也是一个有能动性的行动者。看到普罗克斯笔下的人类角色在多大程度上屈服于不幸的命运（而手风琴却活了下来），我们就不难推断，绿色手风琴是仅有的几个有能人的角色之一。弗朗索瓦·吉拉德（Francois Girard）的电影主角也有类似的情节
Accordion Crimes, a novel by E. Annie Proulx, traces the life of and routes travelled by a green diatonic button accordion: its birth in Sicily in the workshop of “Th e Accordion Maker,” its numerous changes of ownership in the Americas during encounters between various immigrant communities, and its death when it fi nally falls into disrepair in the town of Old Glory, Minnesota. Th ere are other accordions in the book, and many temporary human owners, but it is one particular green accordion that is the book’s protagonist. We meet and experience other characters largely through their interactions with the green accordion, a character whose voice, we learn, “sounded hoarse and crying, reminding listeners of the brutalities of love, of various hungers” (Proulx 1996:22). Th is green accordion is not only central to human social networks, but is also itself an actor with agency. Seeing the extent to which Proulx’s human characters succumb to ill fate (while the accordion lives on), it would not be a stretch to suggest that the green accordion was one of the only characters with agency. A similar plot surrounds the protagonist of Francois Girard’s movie