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Carregando... A clockwork orange (original: 1962; edição: 1967)de Anthony Burgess
Informações da ObraLARANJA MECÂNICA de Anthony Burgess (1962)
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Que B urgess tenha julgado mal a distância entre ol cômico e o cruel, parece indiscutível. Criou um clássico arrepiante, uma sátira escabrosa aos desvios humanos, brutalidades e condicionamentos sociais que permanece até hoje uma parte visível do debate público sobre violência. Embora admita uma leitura mais liberal e antiautoritária, o romance alegórico é muito católico, moralmente confuso, e tremendamente poderoso. Exige reflexão, descreve o horror com elegância e beleza. Burgess criou uma comédia negra desconcertante e humana, não calorosa nem amável, mas sim um terrível resumo de onde o mundo foi parar. O pesadelo brilhante emprega vulgaridade ultrajante, brutalidade gritante. um pouco de comédia sofisticada e uma pitada de tragicomédia punk, para em suma meditar sobre o Bem, o Mal e o Livre Arbítrio. ( ) Publicado pela primeira vez em 1962, e imortalizado 9 anos depois pelo filme de Stanley Kubrick, Laranja Mecânica não só está entre os clássicos eternos da ficção como representa um marco na cultura pop do século 20. Meio século depois, a perturbadora história de Alex – membro de uma gangue de adolescentes que é capturado pelo Estado e submetido a uma terapia de condicionamento social – continua fascinando, e desconcertando, leitores mundo afora. Esta edição especial de 50 anos em capa dura e impressa em duas cores (preto e laranja), inclui: * Ilustrações exclusivas de Angeli, Dave McKean e Oscar Grillo * Trechos do livro restaurados pelo editor inglês * Notas culturais do editor * Artigos e ensaios escritos pelo autor, inéditos em língua portuguesa * Uma entrevista inédita com Anthony Burgess * Reprodução de seis páginas do manuscrito original, com anotações e ilustrações do autor
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. Pertence à série publicadaGrote ABC (210) Heyne Allgemeine Reihe (928 / 6777 / 13079) — 11 mais Está contido emTem a adaptaçãoÉ resumida emInspiradoTem como estudoThe 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." de Sam Joseph Siciliano Tem um comentário sobre o textoTem um guia de estudo para estudantesPrêmiosDistinctionsNotable Lists
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. Não foram encontradas descrições de bibliotecas. |
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Google Books — Carregando... GênerosClassificação decimal de Dewey (CDD)823.914Literature English English fiction Modern Period 1901-1999 1945-1999Classificação da Biblioteca do Congresso dos E.U.A. (LCC)AvaliaçãoMédia:
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