ABSTRACT The ways in which biographers mythologize their subjects’ lives (and the way they mythologize their own lives) have long been a topic of research in life-writing. Even though several musicologists have identified mythologizing “motifs,” the mythologizing function of “death” and “resurrection” remains under-theorized in relation to musical biography. Such motifs appear in biographies of Berlioz and Liszt written during their lifetimes, beginning with the earliest biographies of the composers, which were written by a friend, the music critic Joseph d’Ortigue. The meanings of these episodes changed when they appeared in auto/biographies written towards the end of their lives: Berlioz’s Mémoires and Lina Ramann’s Franz Liszt als Künstler und Mensch (the first “official” biography of Liszt, written partly under his guidance). In both of d’Ortigue’s biographical sketches, “resurrection” is associated with the broader social regeneration taking place in Paris in the wake of the July 1830 Revolution, thereby magnifying the composers’ importance. The ability to understand and conquer death is also positioned as an integral part of the composers’ apprenticeships, further inflating and mythologizing their status as artists.

中文翻译：

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柏辽兹和李斯特生平叙事中的死亡和复活主题：德奥蒂格、拉曼和柏辽兹的回忆录

摘要 传记作者将他们的主题的生活神话化的方式（以及他们将自己的生活神话化的方式）长期以来一直是生活写作研究的主题。尽管一些音乐学家已经确定了神话化的“主题”，但与音乐传记相关的“死亡”和“复活”的神话化功能仍然缺乏理论化。这样的主题出现在柏辽兹和李斯特生前所写的传记中，从最早的作曲家传记开始，这些传记是由一位朋友，音乐评论家约瑟夫·德奥蒂格撰写的。当这些情节出现在他们生命尽头的自传/传记中时，它们的含义发生了变化：柏辽兹的回忆录和丽娜·拉曼的弗朗茨·李斯特 als Künstler und Mensch（李斯特的第一本“官方”传记，部分是在他的指导下撰写的）。在 d'Ortigue 的两部传记草图中，“复活”都与 1830 年 7 月革命之后发生在巴黎的更广泛的社会复兴有关，从而放大了作曲家的重要性。理解和征服死亡的能力也被定位为作曲家学徒生涯中不可或缺的一部分，进一步夸大和神话他们作为艺术家的地位。