scholarly journals THE NAME OF LUDWIG VAN BEETHOVEN AS THE PRECEDENT LEXICAL ITEM IN ANTHONY BURGESS’S NOVEL “A CLOCKWORK ORANGE”

2017 ◽  
pp. 169-177
Author(s):  
L. V. Korobko
Keyword(s):  
Ludwig Van Beethoven ◽  
Positive Characteristic ◽  
Physical Characteristics ◽  
Lexical Item ◽  
Literary Discourse ◽  
The Novel ◽  
Work Of Art ◽  
Personal Attitude ◽  
Proper Name

The article analyzes features of the proper name of Ludwig van Beethoven as well as represents its intentional use in the process of verbalization of the phenomenon “Music” (based on the novel “A Clockwork” by Orange A. Burgess). On the basis of a stage-by-stage research three models of the proper name Ludwig van Beethoven within the anthroponomical field of the literary discourse of A. Burgess were allocated: MODEL I [Personal name]; MODEL II [Surname]; MODEL III [Surname + Work of Art]. The use of the model [Personal name] – Ludwig van is prepotent and reflects the main character’s personal attitude towards the composer. Functional meanings of the proper name are defined, 4 lexical portraits of Beethoven are allocated: physiological, psychological, emotional and intellectual. Positive and negative signs of Beethoven are expressed by means of evaluative lexicon and antinomies in the analyzed novel. The positive characteristic of the composer prevails, which is connected with the greatness of his figure and is motivated by the main character’s affection to Beethoven. Beethoven’s educational, noble features belong to positive signs. Negative signs of the composer’s personality are reflected in his emotional and intellectual portraits as he is represented as a gloomy, angry, mad person. In Anthony Burgess’s novel “A Clockwork Orange” both universal and specific features of Ludwig van Beethoven are represented. The universal features include physical characteristics of the musician (deafness, long flying hair, etc.), and also recognition of genius of the composer and his creations. Beethoven’s character belongs to the sphere of universal and specific features. The fact of the detached, lonely lifestyle of the musician, his severe, gloomy character, which was caused by his disease, is wellknown. Annoyance, rage, hidden threat, penetrating look are the specific features which are allocated to Beethoven by the author of the novel A. Burgess.

scholarly journals TEXT-CREATIONAL FUNCTIONS OF TOPONYMS ІN THE MODERN LITERARY DISCOURSE (BASED ON THE NOVEL BY SOPHIA ANDRUKHOVYCH «AMADOKA»)

2021 ◽  
pp. 80-84
Author(s):  
N. LUKASH
Keyword(s):  
Dominant Role ◽  
Literary Discourse ◽  
The Novel ◽  
Proper Name ◽  
Modern Fiction ◽  
Basic Functions ◽  
Text Formation

The need to develop a holistic linguistic vision of the functionality of toponyms in the literary discourse dictates the study of these units on the basis of broad artistic materials texts of different genres. The article is devoted to characteristics of toponyms, noted in the novel of Sophia Andrukhovych «Amadoka». The study has revealed that modern fiction manifests an abundant toponym system. The system of toponyms in the novel «Amadoka» is formed by horonyms, oykonyms, urbanonyms, hydronyms, oronyms, and so on. The toponyms carry out the following basic functions: nominative-localized, ideological, and symbolic. First, toponyms in a text actualize their toponymic meaning, structuring a text space. However, toponyms often become ideological-conceptual elements that gain a dominant role in the implementation of the author’s intention, function in the text as symbols, which enables the output of functions of this proper name beyond the limits of the traditional nominative-localization one. They become the means of the indirect features of characters of the novel that are one of the elements of text formation.

scholarly journals Art, the Artist and Ethics in Wilde's Picture of Dorian Gray

2017 ◽  
Vol 3 (4) ◽  
pp. 18
Author(s):  
Zrinka Frleta
Keyword(s):  
The Novel ◽  
Work Of Art ◽  
Picture Of Dorian Gray ◽  
Dorian Gray ◽  
Art For Art's Sake ◽  
Art And Ethics

This paper examines ideological and philosophical premises of aestheticism, presented in Wilde's critical essays (The Critic as Artist and The Decay of Lying), and epigrams in the preface to the novel The Picture of Dorian Gray, which both offer a philosophical context to the novel. Aestheticism emphasized that art can not be subordinated to moral, social, religious and didactic goals, because its ultimate goal is art itself, l'art pour l'art (art for art's sake). „Art never expresses anything but itself.“ „All bad art comes from returning to Life and Nature, and elevating them into ideals.“ „Life imitates Art far more than Art imitates Life.“ „Lying, the telling of beautiful untrue things, is the proper aim of Art.“ (Wilde, 1891). The relations between art and reality (concealment of reality) and art and ethics (an ethical function of art) have been explored through the interaction of the characters of Basil Hallward and Sibyl Vane with Dorian Gray. The paper also examines the role of the artist, his morality in the process of creating and experiencing the work, and the influence of the work of art on the artist himself/herself.

scholarly journals Wiersz o jesieni. O Frantzu François Ozona

2019 ◽  
pp. 77-92
Author(s):  
Krzysztof Kozłowski
Keyword(s):  
Main Theme ◽  
Film Material ◽  
The Novel ◽  
Work Of Art ◽  
Feature Film ◽  
Starting Point ◽  
Paul Verlaine ◽  
Ernst Lubitsch ◽  
Synthetic Work ◽  
Adam Mickiewicz

Kozłowski Krzysztof, Wiersz o jesieni. O Frantzu François Ozona [A Poem on Autumn. Frantz by François Ozon]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 77–92. ISSN 1644-6763. DOI 10.14746/pt.2019.32.3. The film Broken Lullaby ([1932] Ernst Lubitsch) and the novel L’Homme que j’ai tué ([1921, 1925, 1930] Maurice Rostand) are seen to be the main inspirations for Frantz (2016) by François Ozon. On the basis of methodology broadly understood as the concept of bringing into relief (Domański, 1992, 2002), this article aims to demonstrate the means by which the French director expanded upon the literary-film material, imbuing it with a totally singular meaning. Ozon’s inventiveness did notlimit itself to transformations typical for adaptations, but ventured towards feature film understood as a synthetic work of art that by exploiting the audiovisual properties of the medium itself, acts as a unifying force of poetry (Verlaine, Banville), music (Chopin, Debussy) and painting (Manet). The famous poem recited by the heroine, Ann, Chanson d’automne (Paul Verlaine), serves as the analytical starting point for the above. It is thus used as a pivot for the entire film, a veritable lodestarfor guiding motifs, allowing important aspects of the film to be highlighted and consequently, bring its main theme to the fore.

scholarly journals Alfred Döblin, crítico-romancista: propostas para o novo romance e a aliança da teoria e da prática em Berlin Alexanderplatz

2019 ◽  
Vol 14 (1) ◽  
pp. 37
Author(s):  
Izabela Baptista do Lago
Keyword(s):  
Literary Genre ◽  
The Novel ◽  
Artistic Practice ◽  
Work Of Art ◽  
Berlin Alexanderplatz ◽  
Alfred Döblin ◽  
Epic Novel ◽  
Theoretical Considerations

Resumo: A partir de ensaios de Alfred Döblin sobre o romance, publicados entre 1913 e 1930, o presente artigo examina as considerações críticas e teóricas do autor sobre o romance enquanto gênero literário e obra de arte em consonância com seu tempo. Considerando em especial a proposta romanesca de Döblin na forma do romance épico, uma breve análise do romance Berlin Alexanderplatz, publicado em 1929, verificará em que medida os elementos presentes nesta obra se adequam com o posicionamento expressado por seu autor. Por fim, conclui-se que Döblin concilia suas propostas teóricas com a sua prática artística, transformando-se no crítico-romancista do romance épico, alinhado com as transformações e aspirações culturais do século XX.Palavras-chave: Döblin; romance épico; crítico-romancista.Abstract: Based on Alfred Döblin’s essays on the novel, published between 1913 and 1930, this article examines the author’s critical and theoretical considerations of the novel as a literary genre and work of art in accordance with its time. Chiefly considering Döblin’s novelistic proposal in the form of the epic novel, a brief analysis of the novel Berlin Alexanderplatz, published in 1929, will verify the extent to which the elements present in this work can correspond with the position expressed by its author. Finally, it can be concluded that Döblin conciliates his theoretical proposals with his artistic practice, which turns him into a critic-novelist of the epic novel, aligned with the transformations and cultural aspirations of the 20th century.Keywords: Döblin; epic novel; critic-novelist.

Proust's Metaphors from the Natural and the Exact Sciences

PMLA ◽  
1954 ◽  
Vol 69 (5) ◽  
pp. 1038-1059
Author(s):  
Reino Virtanen
Keyword(s):  
The Novel ◽  
Scientific Culture ◽  
Work Of Art ◽  
Artistic Value ◽  
Point Of Interest ◽  
Elective Affinities ◽  
The Ideal

Goethe with his elective affinities, Stendhal with his cristallisation, are among Marcel Proust's forerunners in the use of scientific analogies in fiction. In our time, D. H. Lawrence has made his readers familiar with electricity as an analogue for the passion of love. But it seems safe to say that no writer has ever made more varied and skillful use of metaphors from science than Proust. This is the more remarkable because A la Recherche du Temps perdu is better known for the allusions to painting and music than for the allusions to science. Admirers like André Maurois, Camille Vettard, and Jean Mouton content themselves with citing a few examples. A study of Proust's analogies from the sciences is interesting for several reasons. There is, for one thing, the question of Proust's scientific culture. Another question is the value of these analogies for clarification of the phenomena described. A third point of interest concerns their artistic value. Do they come up to the ideal of the author who wrote: “Je crois que la métaphore seule peut donner une sorte d'éternité au style … ”? What is the function of these metaphors in the novel conceived as a work of art?

scholarly journals The Analysis of Code Switching Found In the Novel “Critical Eleven”

HUMANIS ◽  
2019 ◽  
pp. 57
Author(s):  
A.A. Tri Anggarukma K D ◽  
I Gede Putu Sudana ◽  
I Made Winaya
Keyword(s):  
Group Identity ◽  
Lexical Item ◽  
Code Switching ◽  
The Novel ◽  
Expressive Function ◽  
Poetic Function ◽  
Directive Function ◽  
Referential Function

This paper is entitled “The Analysis Code Switching Found in The Novel “Critical Eleven”. The aims of this study  are to describe the types, function and to the analyse reasons of code switching used by the novelist. The data  in this study were taken from all chapters of the novel entitled “Critical Eleven”by Ika Natassa. Firstly, the code switching that occurs in novel were identified and then they were classified and analyzed based on their types, function, and reasons of code switching. The collected data were analyzed  using three theories;  first the theory by Poplack as the main theory used in this study; this theory was used to analyze the three types of code swtching, they are: Tag Switching, Inter-Sentental Switching, Intra-Sentential Switching. The second theory proposed by Apple and Muyken was used to anlyze the function of code switching. They divided the functions into six categories, which are: Referential Function, Directive Function, Expressive Function, Phatic Function, Metalinguistic Function, Poetic Function. The theory proposed by Grosjean was used to analyze the reason of code switching.  There are ten reasons of code switching; they are: To Fill A Linguistic Need For Lexical Item, Set Phrase, Discouse Marker Or Sentence Filler,To Continue Last Language Used (Triggering}, To Qoute Someone, To Emphasize, To Spesify Speaket Addressee, To Qualify Message: Amplify Or Emphasize, To Specify Speaker Involvement, To Mark And Emphasize Group Identity (Solidarity), To Convey Confidentially, Anger, Annoyance, To  Exclude Someone From Conversation, To Change Role Of Speaker: Rise Status, Add Authority, Show Expertise.But from the six functions of code switching  applied, there are only five functions of code switching found in the novel; they are Referential Function, Expressive Function, Phatic Function, Metalinguistic Function And Poetic Function. And based on the reasons of code switching, there were only seven which were found in the novel”Critical Eleven”; they are To Fill A Linguistic Need For Lexical Item, To Continue The Last Language Used (Triggering), To Quote Someone, Specify Addressee, To Specify Speaker Involvement, To Mark And Emphasize Group Identify (Solidarity) And To Convey Confidentially, Anger, And Annoyance.

scholarly journals Eroticism and Justice: Harold Pinter’s Screenplay of Ian McEwan’s "The Comfort of Strangers"

Text Matters ◽  
2013 ◽  
pp. 171-185
Author(s):  
Paulina Mirowska
Keyword(s):  
Social Interaction ◽  
Gender Relations ◽  
Careful Analysis ◽  
Sexual Intimacy ◽  
The Novel ◽  
Work Of Art ◽  
Ethical Concerns ◽  
Effective Manner ◽  
The Erotic

A careful analysis of Harold Pinter’s screenplays, notably those written in the 1980s and early 1990s, renders an illustration of how the artist’s cinematic projects supplemented, and often heightened, the focus of his dramatic output, his resolute exploration of the workings of power, love and destruction at various levels of social interaction and bold revision of received values. It seems, however, that few of the scripts did so in such a subtle yet effective manner as Pinter’s intriguing fusion of the erotic, violence and ethical concerns in the film The Comfort of Strangers (1990), directed by Paul Schrader and based on Ian McEwan’s 1981 novel of the same name. The article centres upon Pinter’s creative adaptation of McEwan’s deeply allusive and disquieting text probing, amongst others, the intricacies and tensions of gender relations and sexual intimacy. It examines the screenplay—regarded by many critics as not merely an adaptation of the novel but another, very powerful work of art—addressing Pinter’s method as an adapter and highlighting the artist’s imaginative attempts at fostering a better appreciation of the connections between authoritarian impulses, love and justice. Similarly to a number of other Pinter filmscripts and plays of the 1980s and 1990s, the erotic and the lethal alarmingly intersect in this screenplay where the ostensibly innocent—an unmarried English couple on a holiday in Venice, who are manipulated, victimized and, ultimately, destroyed—are subtly depicted as partly complicit in their own fates.

scholarly journals УСТАРЕВШАЯ ЛЕКСИКА В РОМАНЕ А. И. ГЕРЦЕНА «КТО ВИНОВАТ?» OUTDATED VOCABULARY in A. I. HERZEN's NOVEL " who is to BLAME?"

2020 ◽  
Vol 0 (42) ◽  
pp. 224-241
Author(s):  
Noha Ati Khalif ◽  
Keyword(s):  
Main Task ◽  
The Novel ◽  
Work Of Art ◽  
Artistic Style ◽  
Methods And Techniques ◽  
Modern Era

В статье рассмотрена главная причина обращения А. И. Герцена к устаревшим словам, которая состоит в их способности приобретать в контексте речи стилистическую окраску, а также возможности сочетания в некоторых случаях с нейтральными лексемами различных функциональных стилей. Репрезентирован определенный стилистический эффект таких характеристик этого типа лексики, вследствие чего их стилистическая окрашенность в синтагматическом плане не совпадает со стилистической окраской в плане парадигматики, то есть в речи они совсем имеют совершенно стилистическое значение. Акцентируется внимание на роли устаревшей лексики, состоящая в том, что они служат для реализации таких черт художественного стиля как образность, эмоциональность, а их главная задача – эмоционально воздействовать на читателя, чем мастерски пользуется Герцен. Утверждается, что для устаревшей лексики романа «Кто виноват?» А. И. Герцена характерным представляется успешное сосуществование современного для писателя языка и речи изображаемой эпохи. Характер сочетания этих двух языковых стихий, их объем, способы, приемы введения элементов языка изображаемой эпохи в ткань художественного произведения являются специфическими. Abstract The article considers the main reason for A. I. Herzen's address to obsolete words, which is their ability to acquire a stylistic coloring in the context of speech, as well as the possibility of combining, in some cases, with neutral lexemes of various functional styles. A certain stylistic effect of such characteristics of this type of vocabulary is represented, as a result of which their stylistic coloring in syntagmatic terms does not coincide with stylistic coloring in terms of paradigmatics, that is, in speech they have a completely stylistic meaning. Attention is focused on the role of outdated vocabulary, which consists in the fact that they serve to implement such features of the artistic style as imagery, emotionality, and their main task is to emotionally affect the reader, which Herzen skillfully uses. It is argued that for the outdated vocabulary of the novel “Who is to blame?” By A.I. Herzen, the successful coexistence of the modern era for the writer of language and speech appears characteristic. The nature of the combination of these two linguistic elements, their scope, methods, and techniques for introducing elements of the language of the epoch depicted into the fabric of a work of art are specific.

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