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La taronja mecànica (1962)

de Anthony Burgess

Altres autors: Mira la secció altres autors.

MembresRessenyesPopularitatValoració mitjanaMencions
21,994345114 (4.01)685
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)
Afegit fa poc permjhunt, biblioteca privada, ekrst, Dendy, beermanaj, EmilyQuinn, theschredditor
Biblioteques llegadesDavid Robert Jones, Anthony Burgess, Edward Estlin Cummings
  1. 331
    1984 de George Orwell (wosret)
  2. 262
    Un món feliç de Aldous Huxley (MinaKelly)
  3. 130
    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)
  6. 41
    A Boy and His Dog de Harlan Ellison (artturnerjr)
    artturnerjr: Futuristic ultraviolent teenage blues
  7. 52
    Riddley Walker de Russell Hoban (fugitive)
  8. 20
    The Midwich Cuckoos de John Wyndham (SnootyBaronet)
    SnootyBaronet: Teddy boys
  9. 20
    Hoppla! 1 2 3 (French Literature) de Gerard 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. 22
    Cloud Atlas de David Mitchell (sturlington)
  13. 77
    El vigilant en el camp de sègol de J. D. Salinger (SqueakyChu)
  14. 01
    A Dead Man in Deptford de Anthony Burgess (Usuari anònim)
  15. 01
    Marabou Stork Nightmares de Irvine Welsh (SqueakyChu)
  16. 13
    La solitud del corredor de fons de Alan Sillitoe (thatguyzero)
1960s (7)
Read (47)
Satire (188)
Abuse (39)
Teens (7)
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» Mira també 685 mencions

Anglès (321)  Castellà (5)  Francès (4)  Alemany (3)  Suec (2)  Neerlandès (1)  Finès (1)  Italià (1)  Portuguès (1)  Danès (1)  Totes les llengües (340)
Es mostren 1-5 de 340 (següent | mostra-les totes)
I had a hard time getting through this one, simply because I kept stopping to try and determine the definitions of the words; I tried to continue reading, skimming over them, but realized I was not getting the meanings from the context in many cases, and further confusing myself.

Maybe someday I'll attempt to read this one again, but there are plenty of others on the NPR list that I've got to get to before that happens. ( )
  resoundingjoy | Jan 1, 2021 |
Oh my Bog, there are so many veshches that I found horrorshow about this book, that I can hardly put it into slovos. Enough nadsat govoreeting now.

When I picked up A Clockwork Orange, I only had a faint idea of what I was about to read, having only seen some fragments of the homonymous movie. Quickly I realised I was in for a treat, for this is not a novella about debauchery, murder and rape, yet thinly veiled critique on overbearing governmental control simply set in dystopian a world with ultra-violence.

After the second chapter, I wondered how Burgess would be able to maintain the captiveness of the story, but the third and final chapter serves as a great ending to the book. Such a shame I found it to find out that the movie leaves out the very final part, for that contains the beautiful insight the protagonist Alex has in youth, puberty and coming of age.

Great book, beautiful - yet strange - language, brilliantly used to describe very explicit brutality without shocking the reader. Amazing work. ( )
  bbbart | Dec 27, 2020 |
Is it bad that I like it mostly for the wordplay? The main theme of free will to do evil being an essential part of humanity is interesting too if a tad heavy handedly pushed. ( )
  TeaTimeCoder | Dec 23, 2020 |
Very horrorshow, my droogs.

This just blew me away. I have never seen the movie. I had no idea what this was about. I didn't even read the back cover. I knew it was a disturbing movie/book, that's all.

I didn't understand a word of the first two pages. I went ahead and kept reading and finally I understood the slang. And the violence! Wow. At least it was couched in all of that slang which kept me distant from it to a certain extent.

I can see why ending the book at chapter 20 as they did in the USA would have given the book a different flavor than ending it at chapter 21. Actually, I didn't find chapter 21 believable.

I know in the middle of the book I actually started feeling sorry for Our Humble Narrator which was disturbing in itself.

Not a world I'd like to live in. Mine is violent enough. Plenty of ideas to think about though and I know, for myself, I'd rather have free will to do wrong than be a clockwork orange.

The idea of violence with classical music was interesting. So were all the Soviet undertones in all of that slang. ( )
  Chica3000 | Dec 11, 2020 |
Sehr heftig, extrem brutal, aber auch sehr faszinierend, regt stark zum Nachdenken an.
Nadsat, die dem Russischen angelehnte Jugendsprache, die Burgess dem Erzähler in den Mund legt, macht das Buch zu einem ganz speziellen Erlebnis. Leider habe ich nur eine Übersetzung gelesen, nicht das Original, allerdings Blumenbachs Neuübersetzung, bei der offenbar einiges richtig gemacht wurde.
Sie enthielt auch diverses Zusatzmaterial und den Epilog, den ich bisher nicht kannte, in dem Alex am Ende erwachsen wird.
Definitiv ein geniales Buch, das in die Riege der ganz besonderen Werke gehört, die man wirklich gelesen haben sollte. Nicht zuletzt deshalb, weil man sich als Leser unerwartet in der Position findet, einen brutalen Schläger irgendwie sympathisch zu finden. Eine sehr seltsame Erfahrung. Unbedingt empfehlenswert. ( )
  zottel | Oct 30, 2020 |
Es mostren 1-5 de 340 (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 (36 possibles)

Nom de l'autorCàrrecTipus d'autorObra?Estat
Burgess, AnthonyAutorautor primaritotes les edicionsconfirmat
Arbonès, JordiTraductorautor secundarialgunes edicionsconfirmat
Šenkyřík, Ladislavautor 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
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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Mitjana: (4.01)
0.5 11
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Penguin Australia

Penguin Australia ha publicat 4 edicions d'aquest llibre.

Edicions: 0141182601, 0141037229, 0141192364, 0241951445

 

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