The Aesthetics Of Anthony Burgess

The book is the first full-length text on Anthony Burgess's fiction in a generation, and offers a radical and innovative way of understanding the extensive literary achievements of one of the twentieth century's most innovative authors. This book explores Burgess's dazzlingly diverse range of novels through the one key theme which links them all – the artistic process itself. Borrowing from Nietzsche's aesthetic dichotomy of Apollo and Dionysus, the book uncovers the protracted evolution of Burgess's fiction and offers a unifying theory which links his early postcolonial fiction chronologically, via his modernist experiments like A Clockwork Orange and Nothing Like The Sun, to his late classics Mozart and the Wolfgang and A Dead Man in Deptford. This volume clarifies Burgess's seminal role as both late modernist and early postmodernist, and lucidly unveils the legacy of England's most mercurial novelist.

This book brings together a diverse range of contemporary scholarship around both Anthony Burgess’s novel (1962) and Stanley Kubrick’s film, A Clockwork Orange (US 1971; UK 1972). This is the first book to deal with both together offering a range of groundbreaking perspectives that draw on the most up to date, contemporary archival and critical research carried out at both the Stanley Kubrick Archive, held at University of the Arts London, and the archive of the International Anthony Burgess Foundation. This landmark book marks both the 50th anniversary of Kubrick’s film and the 60th anniversary of Burgess’s novel by considering the historical, textual and philosophical connections between the two. The chapters are written by a diverse range of contributors covering such subjects as the Burgess/Kubrick relationship; Burgess’s recently discovered ‘sequel’ The Clockwork Condition; the cold war context of both texts; the history of the script; the politics of authorship; and the legacy of both—including their influence on the songwriting and personas of David Bowie!

"A final chapter addresses Schillerian intertextuality in the twentieth century, and the survival of Schillerian ideals of freedom and aesthetic education in modern mutations. Foremost among these texts are Anthony Burgess's A Clockwork Orange and Stanley Kubrick's film of that novel."--Jacket.

Gale Researcher Guide for: A Clockwork Orange: Anthony Burgess's Black Comedy (1962) and Stanley Kubrick's Violent Grotesque (1971) is selected from Gale's academic platform Gale Researcher. These study guides provide peer-reviewed articles that allow students early success in finding scholarly materials and to gain the confidence and vocabulary needed to pursue deeper research.

Anthony Burgess and modernity provides a variety of new perspectives and contexts for exploring Burgess’s literature and music. A range of international scholars and critics explore the writer’s novels, music and linguistic productions to explore and define how Burgess contributed to modernist and postmodernist art. The scholars who contributed to the book provide original explorations of Burgess’s work and the theological, psychological, linguistic, literary and musical contexts in which Burgess’s achievements can best be understood. It will appeal to scholars and students, but it also offers an appreciation of Burgess’s artistic achievements that will provide general readers of Burgess’s work with an insight into some of the exciting contexts in which Burgess novels can be read.

The Experimentalists is a collective biography, capturing the life and times of the British experimental writers of the swinging 1960s. A decade of research, including as-yet unopened archives and interviews with the writers' colleagues, is brought together to produce a comprehensive history of this ill-starred group of renegade writers. Whether the bolshie B.S. Johnson, the globetrotting Ann Quin, the cerebral Christine Brooke-Rose, or the omnipresent Anthony Burgess, these writers each brought their own unique contributions to literature at a time uniquely open to their iconoclastic message. The journey connects historical moments from Bletchley Park, to Paris May '68, to terrorist groups of the 1970s. A tale of love, loss, friendship and a shared vision, this book is a fascinating insight into a bold, provocative and influential group of writers whose collective story has gone untold, until now.

This book addresses the subject of violence as it features in celebrated modernist works from the early twentieth century. It traces the modernist fascination with violence back to the middle decades of the nineteenth century, when certain writers in France and England sought to celebrate dissident sexualities and stylized criminality.

By concentrating on Sam Shepard's visual aesthetics, Emma Creedon argues that a consideration of Shepard's plays in the context of visual and theoretical Surrealism illuminates our understanding of his experimental approach to drama.

A Study Guide for Anthony Burgess's "A Clockwork Orange," excerpted from Gale's acclaimed Novels for Students.This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Novels for Students for all of your research needs.

Anthony Burgess combined high artistic seriousness with very broad popular appeal. The writer of A Clockwork Orange and Napoleon Symphony variously cast himself in the roles of uncompromising artist and willing entertainer. What links these contradictory aspirations is Burgess' ambivalent relationship with James Joyce. In his daring experimentation with the novel form, Burgess always had the Joycean example to emulate, but he also invoked the great precursor to vindicate the rawer components of his art. The author is not blinded by his comparative agenda to Burgess' debts incurred elsewhere. Burgess' work reverberates with echoes of lesser masters as well as securely canonized classics: his voices include the Maughamesque and the Shakespearean as they do the Eliotian and, of course, the Joycean. Anthony Burgess is thus reintroduced as a (post)modern classic himself: Jake's deserving peer and Will's true son.