Abstract

The article analyzes features of the proper name of Ludwig van Beethoven as well as represents its intentional use in the process of verbalization of the phenomenon “Music” (based on the novel “A Clockwork” by Orange A. Burgess). On the basis of a stage-by-stage research three models of the proper name Ludwig van Beethoven within the anthroponomical field of the literary discourse of A. Burgess were allocated: MODEL I [Personal name]; MODEL II [Surname]; MODEL III [Surname + Work of Art]. The use of the model [Personal name] – Ludwig van is prepotent and reflects the main character’s personal attitude towards the composer. Functional meanings of the proper name are defined, 4 lexical portraits of Beethoven are allocated: physiological, psychological, emotional and intellectual. Positive and negative signs of Beethoven are expressed by means of evaluative lexicon and antinomies in the analyzed novel. The positive characteristic of the composer prevails, which is connected with the greatness of his figure and is motivated by the main character’s affection to Beethoven. Beethoven’s educational, noble features belong to positive signs. Negative signs of the composer’s personality are reflected in his emotional and intellectual portraits as he is represented as a gloomy, angry, mad person. In Anthony Burgess’s novel “A Clockwork Orange” both universal and specific features of Ludwig van Beethoven are represented. The universal features include physical characteristics of the musician (deafness, long flying hair, etc.), and also recognition of genius of the composer and his creations. Beethoven’s character belongs to the sphere of universal and specific features. The fact of the detached, lonely lifestyle of the musician, his severe, gloomy character, which was caused by his disease, is wellknown. Annoyance, rage, hidden threat, penetrating look are the specific features which are allocated to Beethoven by the author of the novel A. Burgess.

Highlights

  • Positive and negative signs of Beethoven are expressed by means of evaluative lexicon and antinomies in the analyzed novel

  • The positive characteristic of the composer prevails, which is connected with the greatness of his figure and is motivated by the main character’s affection to Beethoven

  • Negative signs of the composer’s personality are reflected in his emotional and intellectual portraits as he is represented as a gloomy, angry, mad person

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Summary

Introduction

1 Voronezh State Technical University, 14, Moscowsky Ave., Voronezh, Russia, 394026 @ l.v.ledeneva@mail.ru Abstract: The article analyzes features of the proper name of Ludwig van Beethoven as well as represents its intentional use in the process of verbalization of the phenomenon “Music” On the basis of a stage-by-stage research three models of the proper name Ludwig van Beethoven within the anthroponomical field of the literary discourse of A. Burgess were allocated: MODEL I [Personal name]; MODEL II [Surname]; MODEL III [Surname + Work of Art].

Results
Conclusion

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