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Bezig met laden... A Clockwork Orange (origineel 1962; editie 2019)door Anthony Burgess (Auteur)
Informatie over het werkBoze jongens door Anthony Burgess (1962)
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A Clockwork Orange beschrijft het fictieve verhaal over de roekeloze en zeer gewelddadige tiener Alex. Het verhaal speelt zich in New York af rond de jaren’70. Alex is vijftien jaar oud en heeft met drie vrienden een straatbende gevormd om ’s nachts de stad onveilig te maken. Ze kicken op ‘ultra-violence’, wat inhoudt dat ze ongeveer op alle mogelijke manieren de wet overtreden. Ze deinzen dan ook niet terug voor joy-rides, gewelddadige overvallen, groepsverkrachtingen en zelfs moorden. ( )
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. 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. 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? 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. Onderdeel van de uitgeversreeks(en)Grote ABC (210) Heyne Allgemeine Reihe (928 / 6777 / 13079) — 11 meer Is opgenomen inHeeft de bewerkingIs verkort inInspireerdeBestudeerd inThe fictional universe in four science fiction novels: Anthony Burgess's "A Clockwork Orange," Ursula Le Guin's "The Word for World is Forest," Walter Miller's "A Canticle for Leibowitz," and Roger Zelazny's "Creatures of Light and Darkness." door Sam Joseph Siciliano Heeft als een commentaar op de tekstHeeft als studiegids voor studentenPrijzenOnderscheidingenErelijsten
Een groepje jongeren maakt de straten onveilig. Een van de bendeleiders wordt opgepakt, maar maakt ook in gevangenis amok. De overheid besluit tot een wetenschappelijk experiment: geweld moet hem wezensvreemd worden. Het experiment heeft echter een paar onverwachte bijwerkingen. Geen bibliotheekbeschrijvingen gevonden. |
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Google Books — Bezig met laden... GenresDewey Decimale Classificatie (DDC)823.914Literature English English fiction Modern Period 1901-1999 1945-1999LC-classificatieWaarderingGemiddelde:
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