Gabriele Pantucci Collection of Anthony Burgess
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01-Newsletter-060709.Pdf
END OF THE WORLD New SL E TT E R July-August 2009 Issue: 03 Editor Dougie Milton Chief Editors Alan Roughley Nuria Belastegui New S FROM TH E HOUS E Dear Honorary Patrons, Trustees, members and anybody with an interest in Burgess visiting this website: This edition of The End of the World Newsletter has been very of Gerry Docherty and the financial acumen of Gaëtan capably put together and edited by that well-known Burgessian, de Chezelles, purchased new premises to house its Burgess Dougie Milton. Sadly, this will be the first edition of the collection. The Engine House of a renovated cotton mill in Newsletter that Liana Burgess will not be reading. Liana passed central Manchester will provide away in December 2007. Mrs Burgess has provided funding space for readings and performances for us to continue the development of the Foundation until we of Burgess’s literary works and become financially self-sufficient. music, as well as offering an excellent performance space If you know of for writers and musicians from anybody who may Manchester and from the wider want to become national and international contexts. a member of the The Engine House at Chorlton Mill, Foundation, please The renovation of the Engine Manchester pass on our details House at Chorlton Mill is being to them. led by architect Aoife Donnelly. Completion date for the refurbishment of the premises will be late 2009 or very early Since the last 2010. We hope that you will all pencil those dates in your diaries, edition of the and come and help us celebrate the opening of the new IABF. -
The Enderby Novels by Anthony Burgess
Humanities & Social Sciences Reviews eISSN: 2395-6518, Vol 7, No 6, 2019, pp 81-84 https://doi.org/10.18510/hssr.2019.7617 THE ENDERBY NOVELS BY ANTHONY BURGESS: THE ARTIST’S CONCEPT Ekaterina Vladimirovna Smyslova1*, Liliya Fuatovna Khabibullina2 1Lecturer in English, Kazan Federal University, Kremliovskaya str, 18, 420008, Kazan, Russian Federation, 2Professor, Kazan Federal University, Kremliovskaya str, 18, 420008, Kazan, Russian Federation. Email: 1*[email protected], [email protected] Article History: Received on 25th September 2019, Revised on 30th October 2019, Published on 16th November 2019 Abstract Purpose of the study: Anthony Burgess (1917 – 1993) is an English writer, author of the intellectual novels and serious musical works. Being a talented and inventive person, he was very interested in art and its creative processes. Anthony Burgess’s artistic creativity concept can be traced in many of his works about fictional and non-fictional writers Methodology: The article uses the analysis of the fictional world created in the novels as a means of its consideration. The image of the artist is considered from the perspective of the writer's worldview reflected in the composition and the message of his works. Results: The conducted analysis shows that in Anthony Burgess’s opinion the artist is a craftsman whose artistic activity is closely connected with his sexual attraction. In addition, the writer is characterized by isolation as the main condition of the creative process and the total devotion to Art. Applications of this study: This research can be used for the universities, teachers, and students. Novelty/Originality of this study: Thus, the novelty of the paper consists in its first trial to present the artist’s image thoroughly studied in the mentioned above novels. -
Earthly Powers
Anthony Burgess: Earthly Powers (1980) Rob Spence (Edge Hill University) Genre: Novel. Country: England. Earthly Powers was published in 1980, and marked a new stage in Burgess’s work. His major novels of the 1970s had been characterised by experimentation: from MF to Napoleon Symphony to Abba Abba, the impulse throughout the decade had been towards relatively brief novels with complex structures, often based on external sources: in MF, the work of Lévi-Strauss on Native American myth; in Napoleon Symphony on Beethoven’s Eroica symphony; and on an imagined meeting between Keats and Belli in Abba Abba. These novels were the most obviously experimental of this phase of Burgess’s career, and they contrast sharply with the relatively conventional Earthly Powers, which ranks second only to A Clockwork Orange in the amount of attention it has received. This novel too, uses external sources, but they are major public events – the first and second world wars, the holocaust, the Jonestown massacre. Burgess interweaves his fictional characters’ lives with those of the literary and artistic elite of the twentieth century and uses the historical framework as a backdrop both for the first person account of the life of his central character, Kenneth Toomey, and also as a way of grounding Toomey’s discursive ruminations on the nature of good and evil in a tangible reality. The novel is arranged in eighty-two chapters, echoing the eighty-second year of the narrator’s life, which begins in the novel’s celebrated opening sentence. The structure of the novel is straightforward, and mostly comprises chronological narration. -
Rare Books, Manuscripts, Maps & Photographs (644) Lot 98
Rare Books, Manuscripts, Maps & Photographs (644) Wed, 23rd Jun 2021, Live Online | Viewing in Edinburgh Viewing Times: Book an Appt Viewing by appt 21st & 22nd June Lot 98 Estimate: £300 - £400 + Fees Burgess, Anthony A collection of 18 works Devil Of A State. London: Heinemann, 1961. First edition, 8vo, dust-jacket not price-clipped, a little foxing; A Clockwork Orange. London: Heinemann, 1989. Sixth edition, 8vo, ex- library with withdrawn stamps, dust-jacket not price-clipped; M/F. London: Jonathan Cape, 1971. First edition, 8vo, dust- jacket not price-clipped; Joysprick An Introduction to the Language of James Joyce. London: Andre Deutsch, 1973. First edition, 8vo, dust-jacket not price-clipped; Earthly Powers. London: Hutchinson, 1980. First edition, 8vo, dust- jacket not price-clipped; This Man And Music. London: Hutchinson, 1982. First edition, 8vo, dust-jacket not price- clipped; The End Of The World News. London: Hutchinson, 1982. First edition, 8vo, dust-jacket not price-clipped: Enderby's Dark Lady, Or No End Of Enderby [Volume 4 of the Enderby quartet] London: Hutchinson, 1984. First edition, 8vo, dust-jacket not price-clipped; The Kingdom Of The Wicked. London: Hutchinson,1985. First edition, 8vo, dust- jacket not price-clipped; The Pianoplayers. London: Hutchinson, 1986. First edition, 8vo, dust-jacket price-clipped; Little Wilson and Big God, Being the First Part of the Confessions of Anthony Burgess. London: Hutchinson, 1987. First edition, 8vo, signed, dust-jacket price-clipped; The Devil's Mode. London: Hutchinson, 1989. First edition, 8vo, dust-jacket not price-clipped; Any Old Iron. London: Hutchinson, 1989. First edition, 8vo, dust-jacket not price- clipped; You've Had Your Time, Being the Second Part of the Confessions of Anthony Burgess. -
Clockwork Symphonies: What Forster and Burgess Believed In
CORE Metadata, citation and similar papers at core.ac.uk Clockwork Symphonies: What Forster and Burgess Believed In Izumi Dryden＊ Introduction The British writers Edward Morgan Forster (1879-1970) and Anthony Burgess (John Anthony Burgess Wilson, 1917-1993) frequently use musical elements, especially Beethoven’s music, to construct plots and develop themes. Implications of these artistic choices are explored by Erick Alder and Dietmar Hauck in Music and Literature: Music in the Works of Anthony Burgess and E. M. Forster. Regarding Forster’s 1910 novel Howards End (HE), Adler and Hauck state that “most of [Forster’s] critics class it as his most mature, profound, and complex book” (106-107). In an allusion to Forster’s memorable epigraph to HE, “Only connect,” Adler and Hauck pose a question about this novel and provide a tentative answer: “Does music connect? Yes and no” (110). How might music “connect” in HE? To cite one example, as the narrator reports, the second movement of Beethoven’s Symphony No. 5 in C minor connects with the character Helen Schlegel, producing hauntingly surreal effects in her mind during a concert performance. Similarly, in Burgess’s 1962 novel A Clockwork Orange (ACO), Alder and Hauck examine the author’s use of Beethoven’s Symphony No. ＊ 金城学院大学キリスト教文化研究所客員研究所員 ① ― 81 ― 金城学院大学キリスト教文化研究所紀要 9 in D minor. Their interpretation of the symphony’s theme–“Through night to light” (115)–seems to “connect” with, and certainly reflects, the agonizing moral and spiritual development of Alex, the novel’s protagonist and narrator. The purpose of this paper is to identify Forster’s and Burgess’s respective beliefs about life and art that may plausibly have led the authors to use musical elements, themes and motifs in their novels, as seen in HE and ACO. -
Anthony BURGESS Mr W.S
Anthony BURGESS Mr W.S. – Ballet Suite for Orchestra Marche pour une révolution • Mr Burgess’s Almanack Brown University Orchestra • Paul Phillips Anthony Anthony Burgess (1917-1993) BURGESS Mr W.S. • Marche pour une révolution • Mr Burgess’s Almanack Best known as the extraordinarily inventive and prolific on television in Europe and North America and one of the Mr W.S. – Ballet Suite for Orchestra (1979) 35:20 author of over sixty books, Anthony Burgess originally set world’s most famous living writers. 1 I. Prelude – The Theater. Allegro molto 5:40 out to be a composer and regretted that his writings Burgess’s lifelong fascination with the interrelationship 2 II. Sarabande. Slow 2:24 overshadowed his music: “I wish people would think of me of music and literature led him to write novels based on 3 III. Galliard. Allegro molto giocoso 1:16 as a musician who writes novels, instead of a novelist musical forms. A Clockwork Orange and Tremor of Intent 4 IV. Carol. Allegretto 3:17 who writes music on the side”, as The New York Times are structured in sonata form while Nothing Like the Sun, 5 V. Quodlibet. Allegro vivace 3:24 quoted him in 1970. During World War II, he was the “A Story of Shakespeare’s Love-life” filled with musical 6 VI. The Deaths of Princes. Lento 4:02 arranger/pianist for a military entertainment troupe called references, is like a dual suite composed of two unequal The Jaypees, and later composed sonatas, songs, and halves, with each chapter in Part II twice as long as its 7 VII. -
Canaille, Canaglia, Schweinhunderei’: Languages Personalities and Communication Failure in the Multilingual Fiction of Anthony Burgess
Julian Preece: ‘Canaille, canaglia, Schweinhunderei’: Languages Personalities and Communication Failure in the Multilingual Fiction of Anthony Burgess. In: www.polyphonie.at Vol. 6 (1/2019) ISSN: 2304-7607 Julian Preece (Swansea) ‘Canaille, canaglia, Schweinhunderei’: Language Personalities and Communication Failure in the Multilingual Fiction of Anthony Burgess 1. The multilingual Anthony Burgess Anthony Burgess (1917-1993) read and / or spoke Farsi, French, German, Italian, Malay or Jawi, Russian, Spanish and Welsh with varying degrees of fluency, in addition to his native English in which he published. He was also interested in Chinese and Japanese. He learnt Spanish during a three-year wartime posting to Gibraltar from 1943-46. He explained to the Spanish translator of Earthly Powers (1980) in 1982 that he “then spoke it well. I now speak it badly but I can still read it --- with some help from a dictionary”.1 He then learnt Jawi over his four years in Malaya and Brunei in the mid- to the late 1950s, during which he wrote The Malay Trilogy. In 1942 he married Llewela or Lynne Jones (1920-68), from an Anglo-Welsh but non-Welsh speaking background with whom Burgess translated a trio of French novels in the early 1960s. Burgess maintained an active interest in translation throughout his creative life.2 His second wife Liana Macellari (1929-2007) was a translator from English to Italian. The couple lived first in Malta from 1968-70, then spent most of their time in Italy 1970-75 before moving to French-speaking Monaco near the Franco-Italian border up to Burgess’s death in 1993. -
Anthony Burgess
Anthony Burgess Anthony Burgess: Music in Literature and Literature in Music Edited by Marc Jeannin Anthony Burgess: Music in Literature and Literature in Music, Edited by Marc Jeannin This book first published 2009 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2009 by Marc Jeannin and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-1116-5, ISBN (13): 978-1-4438-1116-3 To Ben Forkner, whom I thank for his trust and generosity TABLE OF CONTENTS PREFACE ..................................................................................................... ix Marc Jeannin INTRODUCTION............................................................................................. 1 John Cassini PART ONE: THE PRESENCE AND IMPLICATIONS OF MUSIC IN THE WRITING OF ANTHONY BURGESS That Man and Music: Ten Reasons Why Anthony Burgess’s Music Matters ................................................................................................... 7 Paul Schuyler Phillips The Music of the Spheres: Visceral Epiphany and Physical Muse/ Music in AB......................................................................................... 21 Jonathan -
Joanna Sienkiewicz
ACTA UNI VERSITATIS LODZIENSIS FOLIA LITTERARIA ANGLICA 8, 2009 Joanna Sienkiewicz ANTHONY BURGESS AND TEODOR PARNICKI AS AUTHORS OF HISTORICAL NOVELS OR ALTERNATIVE HISTORIOGRAPHIES Teodor Parnicki and Anthony Burgess lived and wrote their historical novels in two different countries, Poland and Britain respectively, and not exactly in the same times. In spite of the fact that their cultural backgrounds separated them, they had surprisingly similar views and attitudes concerning the writing of the historical novel. Neither Teodor Parnicki nor Anthony Burgess is commonly associated with traditional historiography. What is more, they even fail to be regarded as historical writers in the traditional meaning of the term. Anthony Burgess is commonly remembered for his novel A Clockwork Orange (1962), whose popularity was actually spurred by Stanley Kubrick’s film. Due to the notoriety of this particular novel which presents a vision of the future where British cities are controlled by violent teenagers using a slang being a mixture of English and Russian, Anthony Burgess is predominantly perceived as an author of futuristic visions. (Other novels tackling the same subject matter would include One Hand Clapping [As Joseph Kell] (1961), The Wanting Seed (1962), or 1985 (1978)). Contrary to the general approach to the author of A Clockwork Orange Anthony Burgess will be presented here as an author of historical novels, or historical metafictions, as he wrote several novels constituing biographies of historical figures, among others Nothing Like the Sun: A History of Shakes peare’s Love-Life (1964), Napoleon Symphony (1974), or A Dead Man in Deptford - a biography of Christopher Marlowe (1993) as well as novels concerning recent history comprising such internationally prominent events as the First World War and the Second World War. -
The Aesthetics of Anthony Burgess Jim Clarke the Aesthetics of Anthony Burgess
The Aesthetics of Anthony Burgess Jim Clarke The Aesthetics of Anthony Burgess Fire of Words Jim Clarke School of Humanities Coventry University Coventry, UK ISBN 978-3-319-66410-1 ISBN 978-3-319-66411-8 (eBook) DOI 10.1007/978-3-319-66411-8 Library of Congress Control Number: 2017951546 © The Editor(s) (if applicable) and The Author(s) 2017 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifcally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microflms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifc statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and -
Burgess's Manchester, Manchester's Burgess
Burgess’s Manchester, Manchester’s Burgess This symposium has as its focus the lives of Anthony Burgess as portrayed in the biographical and autobiographical writing. We are inevitably, then, involved in an enterprise which considers how lives are represented in fiction and non-fiction both written by and about our author. In doing so, we will discover, no doubt, the difficulty of separating the life from the work, the man from the representation. It is perhaps therefore permissible for me to introduce an autobiographical element at this point. My interest in Burgess stems from a shared Mancunian background. My childhood, like Burgess’s, was spent in North Manchester, albeit forty years later. My earliest memories are of the shop on Rochdale Road where my mother worked, opposite Carisbrook Street, where Burgess had been born in 1917, and where his mother and sister died in the post war flu epidemic. My family had some faint recollections of the Wilson household, especially of Bertha, the maid who is memorably described in Little Wilson and Big God descending naked down the “noble staircase” of the Golden Eagle public house. My route to school took me past Moston Cemetery where Burgess supposed he would be buried alongside his forbears – he is not, and Andrew Biswell’s recent research has shown that none of his family rest in that most Catholic of Manchester resting places. Since my schooldays, I have lived at various locations in Manchester, including Victoria Park, hard by Xaverian College, and like Burgess, I am proud to hold a degree from Manchester University. -
Anthony Burgess
Anthony Burgess: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator Burgess, Anthony, 1917-1993 Title Anthony Burgess Papers1956-1997 (bulk 1970s-1980s) Dates: 1956-1997 (bulk 1970s-1980s) Extent 139 boxes, 2 galley folders (gf), 20 oversize boxes (osb), 1 oversize folder (osf) (57.12 linear feet) Abstract: The papers of this English novelist includes typed and holograph manuscripts, sheet music, correspondence, clippings, contracts and legal documents, appointment books, magazines, and photographs. Call Number: Manuscript Collection MS-0601 Language English Access Open for research Administrative Information Acquisition Gift 1995 (G13507); Purchase, 1997 (R13998), 1999 (R14404) Processed by Stephen Mielke, Dell Hollingsworth, Daniel Seriff, 1999-2003 Repository: Harry Ransom Center, University of Texas at Austin Burgess, Anthony, 1917-1993 Manuscript Collection MS-0601 Biographical Sketch Anthony Burgess was born John Anthony Burgess Wilson on February 25, 1917, in Manchester, England. His mother and young sister died of influenza in 1919, leaving Burgess to a blue collar upbringing by his father--a cashier and piano player--an aunt, and later a stepmother. As a child, Burgess was made keenly aware of his Irish Catholic heritage and his education at the parochial Xaverian College instilled an interest in theological themes of good and evil, free will, and social authority which appeared in much of his writing years later. Burgess entered Manchester University in 1936 with the intention of studying music. Poor grades in physics blocked his acceptance into the Music Department, so he chose instead to focus on composition and language in Manchester's English Department. After graduating with a bachelor's degree in 1940, he entered the Royal Army Medical Corps, later transferring to the Education Corps.