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de Anthony Burgess

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MembrosResenhasPopularidadeAvaliação médiaMenções
22,109343115 (4)686
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.… (mais)
Adicionado recentemente porDavidm50, mkjones, Katriana_deth, dbkfrank, minalucy1992, biblioteca privada, Mallory_K, Arina42
Bibliotecas HistóricasDavid Robert Jones, Anthony Burgess, Edward Estlin Cummings
  1. 331
    Nineteen Eighty-Four de George Orwell (wosret)
  2. 262
    Brave New World 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
    O Estrangeiro 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
    Brighton Rock 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!… (mais)
  12. 22
    Cloud Atlas de David Mitchell (sturlington)
  13. 77
    O Apanhador no Campo de Centeio de J. D. Salinger (SqueakyChu)
  14. 01
    A Dead Man in Deptford de Anthony Burgess (Usuário anônimo)
  15. 01
    Marabou Stork Nightmares de Irvine Welsh (SqueakyChu)
  16. 13
    The Loneliness of the Long-Distance Runner de Alan Sillitoe (thatguyzero)
1960s (7)
Read (47)
Satire (188)
Teens (7)

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Inglês (323)  Espanhol (5)  Francês (4)  Alemão (3)  Sueco (2)  Holandês (1)  Finlandês (1)  Italiano (1)  Português (1)  Dinamarquês (1)  Todos os idiomas (342)
Mostrando 1-5 de 342 (seguinte | mostrar todas)
Burgess's future slang is more headache-inducing than interesting (in my opinion, people making up fictional future languages have yet to surpass Gene Wolfe in Book of the New Sun), and I'm not quite sure what his point is (the additional chapter that was never published just makes this all the more confusing). This does have its own unique energy, though, which I have to appreciate, and there are some times where the nadsat-talk does work. ( )
  skolastic | Feb 2, 2021 |
I loved the movie when I saw it as a teenager around 35 years ago, but I was always afraid to read the book. I assumed that all the crazy language wouldn't make any sense and I would just give up. Luckily there was a glossary of the words and what they meant in the back and after a chapter or two of referring to it a lot I only needed to look at it once in a while to figure what the narrator was talking about. It turned out that the "crazy language" was what I liked the most about the book.

I love the dark future that Burgess created, at least on the page, because it was horrific. I both hated the narrator and then felt bad for him and then hated him again, so the author definitely got an emotional reaction out of me.

I heard there was an alternate ending chapter that was released later but didn't get reflected in the movie. I'm kind of curious what it was, because the ending that I read seemed to kind end abruptly. ( )
  ragwaine | Jan 23, 2021 |
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 |
Mostrando 1-5 de 342 (seguinte | mostrar todas)
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.
adicionado por SnootyBaronet | editarThe 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.
adicionado por SnootyBaronet | editarThe 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?
adicionado por SnootyBaronet | editarNew 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.
adicionado por Shortride | editarTime (Feb 15, 1963)

» Adicionar outros autores (36 possíveis)

Nome do autorFunçãoTipo de autorObra?Status
Burgess, AnthonyAutorautor principaltodas as ediçõesconfirmado
Arbonès, JordiTradutorautor secundárioalgumas ediçõesconfirmado
Šenkyřík, Ladislavautor secundárioalgumas ediçõesconfirmado
Brumm, WalterTradutorautor secundárioalgumas ediçõesconfirmado
Buenaventura, RamónPrefácioautor secundárioalgumas ediçõesconfirmado
Hollander, TomReaderautor secundárioalgumas ediçõesconfirmado
Jones, BenIlustradorautor secundárioalgumas ediçõesconfirmado
Lundgren, CajTradutorautor secundárioalgumas ediçõesconfirmado
Morrison, BlakeIntroduçãoautor secundárioalgumas ediçõesconfirmado
Pelham, DavidArtista da capaautor secundárioalgumas ediçõesconfirmado
Walsh, JohnIntroduçãoautor secundárioalgumas ediçõesconfirmado
Welsh, IrvinePrefácioautor secundárioalgumas ediçõesconfirmado
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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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Biblioteca Histórica: Anthony Burgess

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W.W. Norton

Uma edição deste livro foi publicada pela W.W. Norton.

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Penguin Australia

4 edições deste livro foram publicadas por Penguin Australia.

Edições: 0141182601, 0141037229, 0141192364, 0241951445


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