Abstract
The focus of the present study was on paralogical potential of the lyrics. For this reason, four tracks from The Wall , which focuses on the alienation and self-captivation of its main character, Pink, because of his nervous breakdown caused by family, school, and society, were analyzed with emphasis on the dialogic/paralogical elements within the album. “Mother”, “Hey You”, “Comfortably Numb”, and “The Trial” were studied separately. After a precise discussion and inspection, it was shown that Pink, as the main character (voice) in each of these tracks, allows the other voices (hierarchies) to have their say, and thus the continuous paralogy shows itself in the theatre of his mind. As a result, the only way is an ongoing conflict in which all the voices get a chance to speak out, not the deletion and elimination of any of them. Consensus leads to the annihilation of either one side or both/all sides. Therefore, the solution is an unsolvable Babel of conflict with the involvement of different language games (different trends of life).
Highlights
Introduction and Theoretical BackgroundMikhail Bakhtin chose the novel genre for analysis
Sidorkin has found some relevance between Bakhtin, Lyotard, and Wittgenstein
This paper aims to study Roger Waters’ lyrics for The Wall in the light of Jean Francois Lyotard’s theoretical jargon
Summary
Mikhail Bakhtin chose the novel genre for analysis. The novel, as he perceived, and with great focus on those written by Dostoevsky, is a genre which allows a multitude of voices to speak for themselves. Ludwig Wittgenstein was an Austrian thinker who spent most of his scholarly life working on language His main contribution to the world of humanities was Philosophical Investigations in which he created his challenging and dialectical ideas about language and language games. In The Postmodern Condition, Lyotard introduces a familiar term with regard to scientific legitimation and governmental actions His idea of terrorism carries the most vital theoretical assumptions that shape his socio-political thought. "By terror", Lyotard means "the efficiency gained by eliminating, or threatening to eliminate, a player from the language game one shares with him He is silenced or consents, not because he has been refuted, but because his ability to participate has been threatened (there are many ways to prevent someone from playing). Nuyen, having Lyotard's concept of justice in mind, states that "[t]errorism is unjust because it prevents others from playing their games" (101)
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