Abstract

This article explores the manner in which Prokofiev’s interpolation of unrelated material in the middle of a traditional theme-space ironizes a seemingly normative sonata process in the first movement of his Second Piano Sonata (1912). By serving as the motivic, tonal, and rhetorical source of much that follows, this interpolation launches a quietly subversive counternarrative that threatens to undermine the traditional sonata narrative upon which the P theme had embarked. I invoke Russian Formalist literary theory as a framework for clarifying and contextualizing the disruptive structural function of Prokofiev’s interpolations within his larger sonata text.

中文翻译：

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路标之间：普罗科菲耶夫奏鸣曲过程中的主题插值和结构陌生化

摘要

本文探讨了普罗科菲耶夫在传统主题空间中间对无关材料进行插值的方式，在他的《第二钢琴奏鸣曲》（1912）的第一乐章中讽刺了看似规范的奏鸣曲过程。通过作为后续动机，音调和修辞的来源，这种插值法引发了悄悄的颠覆性叙事，有可能破坏P主题所基于的传统奏鸣曲叙事。我援引俄罗斯形式主义者的文学理论作为框架，以澄清和情境化普罗科菲耶夫在其较大的奏鸣曲文本中的内插的破坏性结构功能。