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La taronja mecànica (1962)

de Anthony Burgess

Altres autors: Mira la secció altres autors.

MembresRessenyesPopularitatValoració mitjanaMencions
22,927358117 (3.99)698
Told through a central character, Alex, the disturbing novel creates an alarming futuristic vision of violence, high technology, and authoritarianism. A modern classic of youthful violence and social redemption set in a dismal dystopia whereby a juvenile deliquent undergoes state-sponsored psychological rehabilitation for his aberrant behavior.… (més)
  1. 341
    1984 de George Orwell (wosret)
  2. 262
    Un món feliç de Aldous Huxley (MinaKelly)
  3. 141
    One Flew over the Cuckoo's Nest de Ken Kesey (lucyknows, Gregorio_Roth, Gregorio_Roth)
    lucyknows: One Flew Over the Cuckoo's Nest by Ken Kesey may be paired with A Clockwork Orange by Anthony Burgess or The Outsider by Albert Camus. All three novels explore the them of society versus the individual.
  4. 132
    The Handmaid's Tale de Margaret Atwood (wosret)
  5. 62
    L'estrany de Albert Camus (SanctiSpiritus)
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    Riddley Walker de Russell Hoban (fugitive)
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    A Boy and His Dog de Harlan Ellison (artturnerjr)
    artturnerjr: Futuristic ultraviolent teenage blues
  8. 20
    The Midwich Cuckoos de John Wyndham (SnootyBaronet)
    SnootyBaronet: Teddy boys
  9. 20
    Hoppla! 1 2 3 (French Literature) de Gérard Gavarry (bluepiano)
    bluepiano: Central character is another criminally violent leader of a gang of youths. Here too the gang use slang terms of the author's devising. Less violence, a less straightforward narration, & to me a more interesting and striking book.
  10. 20
    Rocs de Brighton de Graham Greene (John_Vaughan)
  11. 10
    Rubicon Harvest de C. W. Kesting (Aeryion)
    Aeryion: The sub-culture of designer drug use and it's effect on the gritty society within Rubicon call back to A Clockwork Orange like an anesthetized echo. The prevalent use and abuse of the potent designer neurocotic Synth and the language (Illuminese) that the addicts speak amongst themselves is a brilliant homage to Burgess's original genius! This story gave me shivers as I read through the vivid hallucinatory narrative. A must read for every fan of the genre!… (més)
  12. 77
    El vigilant en el camp de sègol de J. D. Salinger (SqueakyChu)
  13. 22
    Cloud Atlas de David Mitchell (sturlington)
  14. 01
    A Dead Man in Deptford de Anthony Burgess (Usuari anònim)
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1960s (8)
Read (47)
Teens (7)
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» Mira també 698 mencions

Anglès (336)  Castellà (6)  Francès (4)  Alemany (3)  Suec (2)  Finès (1)  Neerlandès (1)  Italià (1)  Danès (1)  Portuguès (Brasil) (1)  Portuguès (1)  Totes les llengües (357)
Es mostren 1-5 de 357 (següent | mostra-les totes)
Siento que este libro llego a mis manos tarde, tal vez en otro momento el resultado seria otro pero en este se queda así. ( )
  MissAlandra | Jan 17, 2022 |
The only word that I can find to adequately describe this book is "phenomenal." ( )
  djlinick | Jan 15, 2022 |
This book was really slow going for me. It often felt like wading through mush, and I really feel that I am more of a fan of the concept of Clockwork Orange than actually reading it. Still, it was oddly compelling. I love that the theme of freedom of choice is shown through the lens of someone we are supposed to find repulsive. It's hard to sympathize with Alex at all, and yet the treatment they use on him is more repulsive still. It really made me think on concepts of being human and punishment and free will in a way that a morally refined character couldn't get me to do. I also enjoyed the last chapter that was apparently left out of early American editions. It doesn't precisely redeem Alex, but it does provide a small window to the possibility of change.

I doubt I'll read this again, but I'm glad I read it once. ( )
  Monj | Jan 7, 2022 |
So in my senior year of AP english we had to read a "classic" novel from this list and then do 20 annotations on it. It was the bane of every senior's existence for 3 months. I was friends with a lot of the kids in the grade above me and remembered that all they would talk about was "annotations this or annotations that" so I was prepared for the suckiness that was to be annotations. For this very reason I chose a short book. It really was nothing more than that. I wanted to not have to spend a lot of time reading cause I knew I would need extra time to write. That, and I sort of hate classic books. (something I am working on changing). So the shorter the better.

I had almost no idea of the contents of this book. I knew it was a dystopian novel about teenage boys and they did some bad stuff. I knew free will was involved.

Holy shit.

Bad stuff, doesn't even begin to cover it. I almost changed books within like the first 10 pages or so. I mean these weirdoes were dressed in idiotic clothing, walking around beating up on old people, stealing, raping 10 year old girls and having themselves a jolly good time. The main character is essentially a shithead. It goes on and he gets caught or something, and they try to "fix" him through these horrible brainwashing techniques that kills his love for classical music (Beethoven I think, its been 4 years since I read it so I don't really remember). I do remember feeling some sympathy for him during the whole brainwashing thing.

The only reason I have some appreciation for this book is because I had to do 20 fucking annotations on it. For a stupid short book about sociopathic teenage boys, it has a lot of articles written about free will and a ton of other stuff that after turning my annotations in, I blocked out of my memory forever. I remember being interested in the topics and things other people had to say about the book. But I also remember hating the book. So, the second star is for you Mrs. Schmitt, you and the horrid annotation project. ( )
  banrions | Dec 7, 2021 |
This like book is about Alex, a naughty young malchickiwick still only fifteen, that with his droogs ittied down the streets to tolchock who they liked or slashslashslash with their cut-throat britvas, or to do some shop-crasting, to fill their carmans with some cutter. The rozzes finally caught him and locked him up in the the Staja, but when he slooshied a new like treatment that gets you out of prison in no time so that you never go back, he govoreeted with the prison charlie about it, and is chosen as the first to try it.

It is an interessovatting book, if you can look past the humble mumble chumble that's hard to pony, the boohoohoo emotions, the vonny dirty salvos from the rots of malchicks, the red red krovvy ultra-violence, the old in-out in-out, and the sometimes cally and grahzny salvos of Bog and Government with no appy polly loggies. I did not think it was all too horrorshow, but to each veck their own. Three starry stars.

Translation from Nadsat (teenager slang):

This book is about Alex, a rebellious youngster only fifteen years old, who with his friends walked the streets striking who they liked or attacking with their knives, or stealing from shops, to fill their pockets with some money. The police finally caught him and locked him up in the State Jail, but when he heard about a new treatment that gets you out of prison in no time so that you never go back, he talked with the prison chaplain about it, and is chosen as the first to try it.

It is an interesting book, if you can look past the nigh-incomprehensible language that is hard to understand, the heart-string pulling high emotions, the foul language from the mouths of youths, the bloody gore and graphic violence, the sex scenes, and the sometimes bad or disagreeable messages of God and government with no apologies. I did not think it was all too great, but to each person their own. Three stars. ( )
  SDaisy | Nov 15, 2021 |
Es mostren 1-5 de 357 (següent | mostra-les totes)
Mr. Burgess, whenever we remeet him in a literary setting, seems to be standing kneedeep in the shavings of new methods, grimed with the metallic filings of bright ideas. A Clockwork Orange, for example, was a book which no one could take seriously for what was supposed to happen in it-its plot and "meaning" were the merest pretenses-but which contained a number of lively notions, as when his delinquents use Russian slang and become murderous on Mozart and Beethoven. In a work by Burgess nothing is connected necessarily or organically with anything else but is strung together with wires and pulleys as we go.
afegit per SnootyBaronet | editaThe New York Times, John Bayley
 
Burgess’s 1962 novel is set in a vaguely Socialist future (roughly, the late seventies or early eighties)—a dreary, routinized England that roving gangs of teenage thugs terrorize at night. In perceiving the amoral destructive potential of youth gangs, Burgess’s ironic fable differs from Orwell’s 1984 in a way that already seems prophetically accurate. The novel is narrated by the leader of one of these gangs-—Alex, a conscienceless schoolboy sadist—and, in a witty, extraordinarily sustained literary conceit, narrated in his own slang (Nadsat, the teenagers’ special dialect). The book is a fast read; Burgess, a composer turned novelist, has an ebullient, musical sense of language, and you pick up the meanings of the strange words as the prose rhythms speed you along.
afegit per SnootyBaronet | editaThe New Yorker, Pauline Kael
 
A Clockwork Orange, the book for which Burgess — to his understandable dismay — is best known. A handy transitional primer for anyone learning Russian, in other respects it is a bit thin. Burgess makes a good ethical point when he says that the state has no right to extirpate the impulse towards violence. But it is hard to see why he is so determined to link the impulse towards violence with the aesthetic impulse, unless he suffers, as so many other writers do, from the delusion that the arts are really rather a dangerous occupation. Presumably the connection in the hero’s head between mayhem and music was what led Stanley Kubrick to find the text such an inspiration. Hence the world was regaled with profound images of Malcolm McDowell jumping up and down on people’s chests to the accompaniment of an invisible orchestra.

It is a moot point whether Burgess is saying much about human psychology when he so connects the destructive element with the creative impulse. What is certain is that he is not saying much about politics. Nothing in A Clockwork Orange is very fully worked out. There is only half a paragraph of blurred hints to tell you why the young marauders speak a mixture of English and Russian. Has Britain been invaded recently? Apparently not. Something called ‘propaganda’, presumably of the left-wing variety, is vaguely gestured towards as being responsible for this hybrid speech. But even when we leave the possible causes aside, and just examine the language itself, how could so basic a word as ‘thing’ have been replaced by the Russian word without other, equally basic, words being replaced as well?
afegit per SnootyBaronet | editaNew York Review of Books, Clive James
 
But all in all, “A Clockwork Orange” is a tour-de-force in nastiness, an inventive primer in total violence, a savage satire on the distortions of the single and collective minds.
 
In A Clockwork Orange, Anthony Burgess has written what looks like a nasty little shocker but is really that rare thing in English letters—a philosophical novel. The point may be overlooked because the hero, a teen-age monster, tells all about everything in nadsat, a weird argot that seems to be all his own. Nadsat is neither gibberish nor a Joycean exercise. It serves to put Alex where he belongs—half in and half out of the human race.
afegit per Shortride | editaTime (Feb 15, 1963)
 

» Afegeix-hi altres autors (35 possibles)

Nom de l'autorCàrrecTipus d'autorObra?Estat
Burgess, Anthonyautor primaritotes les edicionsconfirmat
Arbonès, JordiTraductorautor secundarialgunes edicionsconfirmat
Šenkyřík, Ladislavautor secundarialgunes edicionsconfirmat
Biswell, AndrewEditor and Introductionautor secundarialgunes edicionsconfirmat
Brumm, WalterTraductorautor secundarialgunes edicionsconfirmat
Buenaventura, RamónPrefaciautor secundarialgunes edicionsconfirmat
Hollander, TomReaderautor secundarialgunes edicionsconfirmat
Jones, BenIl·lustradorautor secundarialgunes edicionsconfirmat
Lundgren, CajTraductorautor secundarialgunes edicionsconfirmat
Morrison, BlakeIntroduccióautor secundarialgunes edicionsconfirmat
Pelham, DavidAutor de la cobertaautor secundarialgunes edicionsconfirmat
Trengrove, BarryJacket Designautor secundarialgunes edicionsconfirmat
Walsh, JohnIntroduccióautor secundarialgunes edicionsconfirmat
Welsh, IrvinePrefaciautor secundarialgunes edicionsconfirmat
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Goodness comes from within [...] Goodness is something chosen. When a man cannot choose he ceases to be a man.
Does God want goodness or the choice of goodness? Is a man who chooses to be bad perhaps in some way better than a man who has the good imposed upon him?
There is, in fact, not much point in writing a novel unless you can show the possibility of moral transformation, or an increase in wisdom, operating in your chief character or characters.
It's funny how the colors of the real world only seem really real when you watch them on a screen.
Then I noticed, in all my pain and sickness, what music it was that like crackled and boomed on the sound-track, and it was Ludwig van, the last movement of the Fifth Symphony, and I creeched like bezoomny at that. ‘Stop!’ I creeched. ‘Stop, you grahzny disgusting sods. It’s a sin, that’s what it is, a filthy unforgivable sin, you bratchnies!’
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Wikipedia en anglès (2)

Told through a central character, Alex, the disturbing novel creates an alarming futuristic vision of violence, high technology, and authoritarianism. A modern classic of youthful violence and social redemption set in a dismal dystopia whereby a juvenile deliquent undergoes state-sponsored psychological rehabilitation for his aberrant behavior.

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Penguin Australia

Penguin Australia ha publicat 4 edicions d'aquest llibre.

Edicions: 0141182601, 0141037229, 0141192364, 0241951445

 

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