Music-forming relatons in the literary texts of Anthony Burgess
Abstract
This article focuses on defining the path of music from a composer to a listener in the literary texts by Anthony Burgess. The purpose of this work is to identify and describe the specifics of musicological relationships in the texts of A. Burgess’s literary works. The texts of A. Burgess’s literary works were used as the empirical material. The subject of the study is the lexical units nominating a composer, a performing musician and a listener / an addressee. The following methods were used during the study: a contextual analysis method, a component analysis method based on dictionary definitions. In the course of the work, it was found that the texts of the analyяed works contain names as well as deictic means (personal pronouns), along with the substantive lexical units used to represent the composer, the performer and the listener. It is characteristic that the deictic means are observed mainly when the listener is indicated, which is due to the prevalence of the pronoun I as the addressee of music in the novel “A Clockwork Orange”, because it is written in the first person. The study showed that the identified anthroponyms are divided into the names of real musicians and the fictitious onyms. As for the estimability there is the positive connotation of the real names and the negative regard of the fictional names, which is observed both in the process of their etymological analysis and the study of their lexical environment. It is concluded that the communicative musical triangle “A Composer – A Performing Musician – A Listener” is relevant to the literary texts of A. Burgess. The practical significance of the work lies in the possibility of using the results of the conducted study in the theoretical courses of lexicology and stylistics of English, intercultural communication, linguoculturology, cognitive linguistics.
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References
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