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Humanity as a Cultured Beast through the Lens of Music in Anthony Burgess’ and Stanley Kubrick’s A Clockwork Orange
David Brajković
Sažetak
An under-discussed philosophical aspect of Burgess’ novel A Clockwork Orange and Kubrick’s film adaptation is the exploration of the duality of human nature – cultural and bestial - perennially at odds. The leitmotif used to articulate this idea is the juxtaposition of classical music with scenes of extreme violence, which challenges the audience’s preconceived notions about high culture. Through the lens of cultural studies and sociological examination, the narrative delves into the portrayal of the protagonist, Alex DeLarge, as an embodiment of the eternal struggle between civilization and primal instincts. The critique extends to societal structures present in the narrative, from the anarchic anomie of the first book to the quasi-fascist regime of the second, revealing the destruction they cause by accentuating and institutionalising one aspect of human nature and violently suppressing the other. The narrative of both the novel and the film adaptation subtly articulates astute critiques of the simplistic suppression of one aspect of human nature in favour of the other, emphasizing the nuanced interplay between culture and brutality. Ultimately, Burgess and Kubrick challenge audiences to confront uncomfortable truths about the human condition, underscored by the recurring motif of Ludwig van Beethoven’s Ninth Symphony, symbolizing humanity’s perpetual quest for harmony amidst discord.
Ključne riječi
A Clockwork Orange; classical music; societal structures; culture; beastdom; dichotomy
Hrčak ID:
322700
URI
Datum izdavanja:
30.11.2023.
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