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INTRODUCTION
The bonds which link the music and the literature can appear,
first of all, thin, obscure. The music is addressed specifically to
the ear and a musical sound, to strictly speaking, does not return to
nothing concrete, tangible. ...
If visual arts thus allow concrete relationships (visual) to the
writing, those which maintains the music with the literature are
carried out in a different register: that of the abstract, the affect,
the feeling. ...
The music is found mainly in two manners in the writing. ... to find itself in
a treaty, a study on the music. The theorist then studies specifically
the role of the music on the individual, how it generates a direction
symbolic system, etc. ... For example, Pascal Quignard was delayed with these two
prospects, through a "theoretical treaty", hatred of the music, and
also via? ... For our
part, we will be delayed with the second way of exploring the bonds
between music and literature, and this via a novel and a play: The
mechanical orange of Anthony Burgess (1962) and the girl and the
death, of Ariel Dorfman. We will not be able however to prevent
us from making rapids references to the film adaptations of Stanley Kubrick
and Polansky Novel, respectively for mechanical orange and the girl
and death, because they pertinently renew the subject of our analysis. ...
We will see in what, more precisely, we can note inside these works
the double appearance of the music like alienation and release. With
this intention, we will refer to certain ideas put forward by Quignard
in its "treaty" on the music. ... The music, when it is imposed by an authority
external and associated violence, becomes the expression of this
brutality, of terror. The mechanical orange shows the process a being
which désincarne, which is alienated via the music, whereas in the
girl and death, one attends an attempt to find this lost freedom. ...
MUSIC AND SEMIOTICS: THE MUSICAL SIGN
We must initially operate a short turning by the theory of the
sign according to Charles S. ... As well as a mathematical
formula no effect of direction on the neophyte causes, since it misses
the "keys" for comprehension (that is to say the theory), the music is
in oneself incomplete; it must be brought up to date, "semiotized",
interpreted by the receiver. ...
Thus, the direction of the music is clean with each one. ... These theoretical precise
details will enable us to better explain in what the music is at the
same time a phenomenon of release and alienation for the individual.
MUSIC AND FREEDOM
In mechanical orange, the music holds a dominating place. ...
We already said that at Alex, the music is initially the expression of
its freedom and then, that of its alienation. ...
In this context, the reports/ratios which maintains Alex with the
music are significant. ... Already, in Korova Milkbar, the music predisposes it with an
access of violence. ...
Once again, the music is associated violence, which comes to multiply
by ten its pleasure. ... A
little later besides, it enjoys literally the images which the music
causes. Here, first of all, the direction which Alex gives to the
music: it wakes up, it brings up to date at his place a feeling of
violence. ... The music is the reflection of the freedom
which it has, that to enjoy the life as it hears it.
It appears symptomatic to us of our problems that the dispute which
marks the beginning of the end of "the era of the pleasure" of Alex
articulates around the music. ... This blunder can include/understand this
way: the music does not cause the same significances at the "Drougs"
and Alex. ... For them, the music is only noises, whereas for
Alex, it constitutes the expression, the reflection of its emotions
and brings a feeling of freedom.
MUSIC AND ALIENATION
Until now, we showed, if statement is dared, the normal
relation that the individual maintains with the music. ... the case
of Alex, although it is extreme, observes well what the theorists
showed on the capacities representative of the music, namely that the
receiver fulfills its function and is given the responsability to
supplement the process of interpretation by instituting with the music
something which is clean for him. We could differently call this
semiotic movement like a "free interpretative process"; the individual
is free to give the direction which it wishes with the music. Now, we
will show a particular function of the music; in what it can put at
the service alienation of individual.
Approximate Word count = 3719
Approximate Pages = 14.9
(250 words per page double spaced)
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