ABSTRACT Crumb describes “dark currents” and “musical vibrations from the surrounding world” of the Vietnam War as crucial to shaping Black Angels. Beyond its unearthly sound palette, Crumb’s work depicts the horrors of war through spiritual symbols that permeate the work, from its architecture to foundational motives. Secularization theory is useful for exploring the work’s historical precedents and identifying Crumb’s revolutionary surrealist poetics. A comparative analysis with Olivier Messiaen’s Quartet for the End of Time repositions Crumb’s Black Angels as part of a larger twentieth-century trend of embracing spirituality to understand, memorialize, and heal from the collective trauma of war.

中文翻译：

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在 Tempore Belli: Crumb's Black Angels 和越南战争

摘要 Crumb 将越南战争的“暗流”和“来自周围世界的音乐振动”描述为塑造黑人天使的关键。除了其超凡脱俗的色调之外，Crumb 的作品还通过贯穿作品的精神象征描绘了战争的恐怖，从建筑到基本动机。世俗化理论对于探索作品的历史先例和识别克拉姆革命性的超现实主义诗学很有用。与奥利维尔·梅西安 (Olivier Messiaen) 的《时间尽头四重奏》(Quartet for the End of Time) 进行的比较分析将克拉姆 (Crumb) 的《黑天使》(Black Angels) 重新定位为 20 世纪更大趋势的一部分，即拥抱灵性以理解、纪念和治愈战争的集体创伤。