ABSTRACT

This article considers the phenomenon of sound in the thirteen-volume novel Pilgrimage (1915–1967) of Dorothy Miller Richardson (1873–1957) and explores the role it plays in connecting the protagonist Miriam with the objective world that she journeys through. In Pilgrimage, as Miriam walks through the world, while actively listening to her surroundings, she also re-imagines and re-focalizes her listening experiences. It is during this process that the boundary between the objective world and the subject, Miriam’s past and present is blurred. Richardson also wrote a filmic column ‘Continuous Performance’ for the magazine Close Up (1927–1933). In it, Richardson expressed her abhorrence to sound film and regarded sound introduced into silent film as a distraction. Prompted by Richardson’s ambivalent attitude towards sound film conveyed in her column, this article explores how Richardson deploys sound in Pilgrimage along with the kind of effect sound creates in it. In particular, by focusing on three types of sounds – everyday sounds, varieties of silence and music – dominating Miriam’s listening experience, this article examines how sound, fragments and disrupts Miriam’s experience of the world on a surface level, yet assists the intimacy between Miriam and the world as well as between her past and present.

摘要

本文考虑多萝西·米勒·理查森 (Dorothy Miller Richardson，1873-1957 年) 的 13 卷小说《朝圣之旅》 (1915-1967 年) 中的声音现象，并探讨它在将主角米里亚姆与她所经历的客观世界联系起来方面所起的作用。在Pilgrimage中，Miriam 在环游世界的同时，积极倾听周围的环境，同时重新想象和重新聚焦自己的聆听体验。正是在这个过程中，客观世界与主体之间的界限，米里亚姆的过去和现在变得模糊了。理查森还为Close Up杂志撰写了电影专栏“持续表演”（1927-1933）。在其中，理查森表达了她对有声电影的厌恶，并认为将声音引入无声电影是一种干扰。受理查森在她的专栏中表达的对有声电影的矛盾态度的推动，本文探讨了理查森如何在朝圣中部署声音以及声音在其中创造的那种效果。特别是，通过关注三种类型的声音——日常声音、各种沉默和音乐——主导 Miriam 的聆听体验，本文探讨了声音、碎片和破坏 Miriam 在表面层面上的世界体验，但有助于 Miriam 之间的亲密关系。和世界以及她的过去和现在之间。