IMAGINARY SYSTEM OF THE NOVEL “THE KINDLY ONES” BY J. LITTELL UNDER THE OPTICS OF INTERMEDIALITY: MAXIMILIAN AUE AND FRENCH HARPSICISTS

Abstract

The article is dedicated to the analysis of the novel “The Kindly Ones” (2006) by American-French writer Jonathan Littell from the point of view of the presence of intermedial connections with music in it. The literary analysis is based on a figurative system of the novel, namely the image of the main character, Max Aue, an SS officer who travels through Europe during the World War II, representing the embodiment of indifferent, sick evil. During the research, an assumption has been made about certain features of the self-portraiture of the main character and the author (similar passion for music and painting, certain biographical coincidences). Having used the conceptual apparatus of intermedial studies, it has been concluded that music plays one of the main roles in revealing the image of the protagonist (the process of learning music demonstrates relationships in the family and the formation of character, admiration for French and German harpsicists reveals the inner contradictions of the hero; conversations about music with colleagues and relatives complement and detail the image of Max). It has been established that, in addition to music, the writer uses intermediality from pictorial art to characterize the image of the main character, appealing to A. Watteau’s painting “Indifferent”. The means of intermediality used to portray Max Aue refer the reader to the aesthetics and image of a person of the French Baroque and help to create a complete artistic image. Intermedial means help to give a deep characterization of the main character, his deep aspirations and the true essence of his personality. Despite Max’s constant desire for everything German and for rapprochement with the image of his father, the intermedial characteristic of the image shows his connection with the French culture of his mother, his infantility, his detachment from the real events unfolding around him, and his attitude to them as some kind of conditional game activity.