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A Clockwork Orange de Anthony Burgess
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A Clockwork Orange (1962 original; edició 1986)

de Anthony Burgess

MembresRessenyesPopularitatValoració mitjanaMencions
23,691366116 (3.99)706
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)
Membre:PunkyMonkey
Títol:A Clockwork Orange
Autors:Anthony Burgess
Informació:W. W. Norton & Company, Paperback, 192 pages
Col·leccions:La teva biblioteca
Valoració:*****
Etiquetes:Cap

Informació de l'obra

La taronja mecànica de Anthony Burgess (1962)

  1. 342
    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)
  6. 41
    A Boy and His Dog de Harlan Ellison (artturnerjr)
    artturnerjr: Futuristic ultraviolent teenage blues
  7. 63
    Riddley Walker de Russell Hoban (fugitive)
  8. 20
    Rocs de Brighton de Graham Greene (John_Vaughan)
  9. 20
    The Midwich Cuckoos de John Wyndham (SnootyBaronet)
    SnootyBaronet: Teddy boys
  10. 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 book.
  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. 00
    Native Son de Richard Wright (Sammelsurium)
    Sammelsurium: Both of these classic novels sympathetically portray main characters who commit horrific crimes and thereafter suffer under flawed criminal justice systems. They are written from quite different perspectives, but focus on similar themes of criminal responsibility and reform.… (més)
  14. 77
    El vigilant en el camp de sègol de J. D. Salinger (SqueakyChu)
  15. 01
    A Dead Man in Deptford de Anthony Burgess (Usuari anònim)
  16. 01
    Marabou Stork Nightmares de Irvine Welsh (SqueakyChu)
  17. 13
    La solitud del corredor de fons de Alan Sillitoe (thatguyzero)
1960s (6)
Read (47)
Teens (7)
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» Mira també 706 mencions

Anglès (342)  Castellà (6)  Francès (4)  Alemany (3)  Suec (2)  Finès (1)  Neerlandès (1)  Italià (1)  Danès (1)  Portuguès (Brasil) (1)  Portuguès (1)  Totes les llengües (363)
Es mostren 1-5 de 363 (següent | mostra-les totes)
(3.5 rounded up)

It took some time to get used to the language, but I once I think I did begin to enjoy the book much more than I thought I would have. ( )
  DominiqueDavis | Aug 9, 2022 |
For those that considering reading this book, don't become discouraged with the language at first. Once you get further into the book, it becomes easier to get use to. I believe this on purpose by the author to make us consider if we, ourselves, are clockwork oranges as well. This is a good discussion book for a book club, as it lends to a lot of good discussion and critical thinking. It's pretty interesting that Alex, the main character, is written so that you feel sorry for him at times. It would be rare, I think, if someone read the book and didn't care for him a bit. Again, this calls for asking the question on just how clockwork orange we are. I have to say, if you're going to read the book, find a version with the original ending chapter. It may change your perspective on what happened if you've only seen the movie. The book is a fun read and once you get over the language that is purposefully used for a reason, can lead to some critical thinking that shows this book is a classic for a reason. Final Grade - B ( )
  agentx216 | Aug 1, 2022 |
I remember reading this book many (many!) years ago, struggling through the dialog while constantly referring to the glossary for word definitions. I can’t remember much of the plot outside of recalcitrant youth butting up against norms/authority, but I do remember it being (probably) my first book that left a lifelong impression as something...different. At my then-young age It was my first taste of people coloring outside the lines. Pretty heady stuff for a color *inside* the lines sorta kid. Oh, the anarchy! ( )
  mikernc | Jul 29, 2022 |
8481302015
  archivomorero | Jun 27, 2022 |
8445070169
  archivomorero | Jun 25, 2022 |
Es mostren 1-5 de 363 (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 (5 possibles)

Nom de l'autorCàrrecTipus d'autorObra?Estat
Burgess, Anthonyautor primaritotes les edicionsconfirmat
Amis, MartinPrefaciautor secundarialgunes edicionsconfirmat
Arbonès, JordiTraductorautor secundarialgunes edicionsconfirmat
Šenkyřík, LadislavTraductorautor secundarialgunes edicionsconfirmat
信一郎, 乾翻訳autor secundarialgunes edicionsconfirmat
Üstel, AzizTraductorautor secundarialgunes edicionsconfirmat
Belmont, GeorgesTraductionautor secundarialgunes edicionsconfirmat
Biswell, AndrewEditor and Introductionautor secundarialgunes edicionsconfirmat
Blumenbach, UlrichTraductorautor secundarialgunes edicionsconfirmat
Bossi, FlorianaTraductorautor secundarialgunes edicionsconfirmat
Brumm, WalterTraductorautor secundarialgunes edicionsconfirmat
Buddingh, C.Traductorautor secundarialgunes edicionsconfirmat
Buddingh, W.F.Traductorautor secundarialgunes edicionsconfirmat
Buenaventura, RamónPrefaciautor secundarialgunes edicionsconfirmat
Chabrier, HortenseTraductionautor secundarialgunes edicionsconfirmat
Csejdy, AndrásEpílegautor secundarialgunes edicionsconfirmat
Dagys, SauliusTraductorautor secundarialgunes edicionsconfirmat
Damsma, HarmTraductorautor secundarialgunes edicionsconfirmat
Fančović, MarkoTraductorautor secundarialgunes edicionsconfirmat
Fernandes, FábioTraductorautor secundarialgunes edicionsconfirmat
Gunn, JamesPrefaciautor secundarialgunes edicionsconfirmat
Hollander, TomNarradorautor secundarialgunes edicionsconfirmat
Horváth, László, Gy.Traductorautor secundarialgunes edicionsconfirmat
Hyman, Stanley EdgarEpílegautor secundarialgunes edicionsconfirmat
Jones, BenIl·lustradorautor secundarialgunes edicionsconfirmat
Kořínek, OtakarTraductorautor secundarialgunes edicionsconfirmat
Körpe, DostTraductorautor secundarialgunes edicionsconfirmat
Konttinen, Moog(käänt.)autor secundarialgunes edicionsconfirmat
Krege, WolfgangTraductorautor secundarialgunes edicionsconfirmat
Leal Fernández, AníbalTraductorautor secundarialgunes edicionsconfirmat
Lundgren, CajTraductorautor secundarialgunes edicionsconfirmat
Melchior, ClausEditorautor secundarialgunes edicionsconfirmat
Miedema, NiekTraductorautor secundarialgunes edicionsconfirmat
Mikkin, DanKujundaja.autor secundarialgunes edicionsconfirmat
Miller, RonIl·lustradorautor secundarialgunes edicionsconfirmat
Monzó, QuimIntroduccióautor secundarialgunes edicionsconfirmat
Morrison, BlakeIntroduccióautor secundarialgunes edicionsconfirmat
Pelham, DavidAutor de la cobertaautor secundarialgunes edicionsconfirmat
Pelham, DavidIl·lustradorautor secundarialgunes edicionsconfirmat
Quijada, AnaTraductorautor secundarialgunes edicionsconfirmat
Rawlinson, MarkEditorautor secundarialgunes edicionsconfirmat
Rogde, IsakOvers.autor secundarialgunes edicionsconfirmat
Self, WillIntroduccióautor secundarialgunes edicionsconfirmat
Steinz, PieterEpílegautor secundarialgunes edicionsconfirmat
Stiller, RobertTł.autor secundarialgunes edicionsconfirmat
Trengrove, BarryJacket Designautor secundarialgunes edicionsconfirmat
Uibo, UdoTraductorautor secundarialgunes edicionsconfirmat
Vieira, José LuandinoTraductorautor 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.
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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: (3.99)
0.5 12
1 102
1.5 14
2 301
2.5 50
3 1001
3.5 209
4 2334
4.5 259
5 1988

W.W. Norton

Una edició d'aquest llibre ha estat publicada per W.W. Norton.

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Penguin Australia

Penguin Australia ha publicat 4 edicions d'aquest llibre.

Edicions: 0141182601, 0141037229, 0141192364, 0241951445

 

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