effect of music Clockwork orange and Dead and the maiden
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.