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Thematic And Structural Use Of Music In Andre Gide's Les-Monnayeurs And Aldous Huxley's Point Counter Point, And Its Previous Role In Their Writings

  • Author / Creator
    Camfield, Barbara
  • The purpose of this thesis is to examine literary use of music in a large selection of the writings of Andre Gide and Aldous Huxley. The introduction exposes the various problems involved in any study of the integration of music into literature, and uncovers the reasons for my special interest in the function of music in the work of the two writers. The first chapter proves that Gide and Huxley were competent musicians and critics of music and that, therefore, their literary allusions to music are backed by professional understanding of music. The second chapter studies the use of references to music as themes and symbols in selected writings of Gide before Les.Faux-Monnayeurs and of Huxley before Point Counter Point. The third chapter demonstrates how even in their early writings Gide and Huxley employ certain literary techniques which are reused in Les Faux-Monnayeurs and Point Counter Point to suggest musical structures within novelistic form. The fourth chapter studies the musical structures of these two novels.It shows how Gide and Huxley coordinate musical form with the "meaning" of the two novels. The fifth chapter considers whether Huxley's literary experimentation with music may have been influenced by Gide's. The conclusion comments on the relative success of their experimentation, and looks briefly at the role of music in the writings of Gide after Les Faux-Monnayeurs and of Huxley after Point Counter Point.

  • Subjects / Keywords
  • Graduation date
    Fall 2009
  • Type of Item
    Thesis
  • Degree
    Master of Arts
  • DOI
    https://doi.org/10.7939/R3FX74D97
  • License
    This thesis is made available by the University of Alberta Libraries with permission of the copyright owner solely for non-commercial purposes. This thesis, or any portion thereof, may not otherwise be copied or reproduced without the written consent of the copyright owner, except to the extent permitted by Canadian copyright law.