Academic literature on the topic 'Clockwork orange'

Certas temáticas literárias permanecem atuais, sendo capazes de provocar sempre novas leituras, independentemente de onde ou quando tenham sido criadas. É o que ocorre com os temas de Juventude, Arte e Violência, que alimentam o presente estudo sobre Laranja Mecânica, romance escrito em 1962 por Anthony Burgess. A forma como essas matérias se mesclam na obra diz muito tanto sobre sua relação intrínseca e atemporal com a natureza humana quanto também sobre o contexto no qual o romance se insere, que evoca o da Londres dos anos 60. O foco da pesquisa busca identificar relações entre a tríade temática e o que ela aponta sobre os paradigmas da época. Para tanto, o suporte teórico se apoia na área de Estudos Culturais. A tensão entre a Juventude e a Violência se reflete na função ambivalente ocupada pela Arte na narrativa – mais especificamente no uso da música, em suas relações com a literatura e com o discurso daquele período ligado ao pós-guerra. A dissertação vem dividida em três capítulos. No primeiro, são feitas as contextualizações, que abrangem elementos da vida do autor e aspectos da sociedade em que a obra se constrói, e as relações entre ambos. O segundo capítulo apresenta as ideias sobre Estudos Culturais que facilitam o trato com a literatura e com o romance investigado, ajudando-nos a examinar – através de uma distância de cinco décadas – o papel que a obra ocupa no seu contexto original. O último capítulo faz uma análise de Laranja Mecânica à luz de nossa perspectiva contemporânea. Esperamos, assim, oferecer uma contribuição para os estudos sobre a obra de Anthony Burgess através desta discussão sobre as complexas e sempre novas relações estabelecidas entre os campos da Literatura, da História e da Arte.<br>Some literary themes are always contemporary, so that the discussion concerning them never wears out, independently from when or where the work was written. This is the case with Youth, Art, and Violence, the themes chosen to be highlighted in this present study of the novel A Clockwork Orange, written by Anthony Burgess in 1962. The way these three elements are woven together in this novel tells much about their intrinsic and timeless relation with human nature as well as about the context in which the novel belongs, which evokes the London of the early 60s. The focus of the research lies on what this triad reveals about the paradigm of that time. Some concepts from the area of Cultural Studies will help connect the ambivalent relation between Violence and Youth within the British society from that time, as well as make associations with the element of Art as treated in Burgess’s work – more specifically, the function of music in the narrative as related to the post-war period in Britain. The work is structured in three chapters. In the first chapter, it will be established a relationship involving the content of the novel, some elements of Burgess’s biography, and some relevant issues respecting the period of time during which the novel was written. Chapter Two introduces the ideas from Cultural Studies that help examine – within this interval of half a century since the novel was first published – the role it plays in the context of its time. The final chapter analyses A Clockwork Orange in relation to the framework of today´s society. I hope that this work may contribute to the body of studies about the work of Anthony Burgess, and to the discussion about the ever-changing relations comprising the fields of Literature, History and Art.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Gradução em Letras/Ingrês e Literatura Correspondente.<br>Made available in DSpace on 2012-10-20T04:50:21Z (GMT). No. of bitstreams: 0Bitstream added on 2014-09-26T00:48:58Z : No. of bitstreams: 1 185025.pdf: 2558408 bytes, checksum: 17eaae87814e655bbd925ed19326258c (MD5)<br>Analise da construção da ambigüidade na narrativa do filme Laranja Mecânica, de Stanley Kubrick (1971). Investiga a relação identificação-afastamento que o filme promove entre o protagonista e o espectador, assim como o modo peculiar como o filme trata a violência. Observa um movimento em direção à ambigüidade que se desenvolve ao longo da obra do diretor, iniciando com estruturas e personagens mais tradicionais, abandonando gradualmente as posições morais seguras. Três filmes são também discutidos como uma amostra da obra do diretor, de modo a traçar a evolução de seu estilo e sua visão de mundo: Dr. Fantástico ou Como Aprendi a Parar de me Preocupar e Amar a Bomba (1963), 2001- Uma Odisséia no Espaço (1968) e De Olhos Bem Fechados (1999).

This essay aims at analysing and understanding different choices made by Caj Lundgren when he translated Anthony Burgess’s novel A Clockwork Orange (1962), more specifically when he translated the fictive language called Nadsat, which is one of the features that made this novel famous. The method used to analyse Lundgren’s translation is based on Reiß and Veermer’s (1984/2014) concept of skopos and functional equivalence. Conclusions drawn are that Lundgren uses a compensatory translation strategy, and that a model can be created for identification of Russian words in the original text’s Nadsat and the transfer of these words to the target text as Swedish Nadsat. In a comparison between Lundgren and two Russian translators’ strategies, their strategies are shown to differ, which could be caused by different translation problems dependent on the target languages.<br>Denna uppsats mål är att analysera olika val som Caj Lundgren gjorde i sin översättning av Anthony Burgess roman A Clockwork Orange (1962), specifikt avseende originalets fiktiva språk, som Burgess döpte till nadsat. Metoden som använts för analysen baseras på Reiß och Veermers (1984/2014) term skopos och funktionell ekvivalens. Slutsatser som dras är dels att Lundgren använder sig av en kompensatorisk strategi vid översättning, dels att ett schema kan uppställas för identifiering av ryska ord i originalets nadsat och deras överföring till måltexten som svensk nadsat. I en jämförelse mellan Lundgrens och två ryska översättares strategier visas att deras strategier skiljer sig åt, vilket kan bero på översättningsproblematik avhängig målspråken.

La plupart des êtres vivants possèdent une horloge interne pour anticiper le jour et la nuit. Cette horloge, dite circadienne, contrôle un grand nombre de fonctions, sur une période de 24 heures. Elle persiste dans des conditions environnementales constantes, indiquant qu’elle fonctionne de façon autonome. L’horloge moléculaire est composée de gènes d’horloge, organisés en boucles de régulation transcriptionnelle négative interconnectées autour d’un centre activateur de transcription, le complexe CLK-CYC. CLK-CYC active à la fois les protéines inhibitrices de son activité et la protéine répresseur de l’expression de CLK. Nous avons étudié le gène clockwork orange (cwo), potentielle cible de CLK-CYC, de la famille des facteurs de transcription bHLH-Orange. Cwo est un nouveau gène d’horloge, il forme une nouvelle boucle de l’horloge moléculaire, encore centrée autour de CLK-CYC. L’expression de cwo est activée par CLK-CYC. CWO favorise l’expression des cibles de CLK-CYC et permet de maintenir des oscillations transcriptionnelles robustes. Les rythmes circadiens du comportement de la drosophile sont contrôlés par une horloge cérébrale. Le neuropeptide PDF est exprimé spécifiquement dans certains des neurones d’horloge, les s-LNvs. Le développement des s-LNvs, qui commence à la fin de l’embryogenèse, est contrôlé par CLK et CYC. Leur absence induit d’importants défauts morphologiques des s-LNvs pendant le développement et ils finissent par disparaître au cours de la métamorphose. CLK et CYC contrôlent donc doublement à l’horloge circadienne : ils contrôlent à la fois la construction de l’horloge cérébrale et le fonctionnement de cette horloge<br>Most organisms have an internal clock that allows anticipation of night and day transitions. This clock, called circadian clock, controls many functions with a 24 hours period. It persists in constant conditions, showing that it works in an autonomous way. Clock genes organised in interconnected transcriptional negative feedback loops compose the molecular clock. The core of the molecular loops is a transcriptional activator complex, the CLOCK-CYCLE complex. CLK-CYC active the expression of its own inhibitors and the repressor of clock gene expression. We have studied the function of a new gene, clockwork orange (cwo), potential transcriptional target of CLK-CYC. Cwo is a transcription factor from the bHLH-Orange domains family. We show here that cwo is a new clock gene, it forms a new loop centred on the CLK-CYC complex. The cwo expression is activated by CLK-CYC. CWO facilitates CLK-CYC targets activation and allows maintaining robust transcriptional oscillations. A cerebral clock consisting of a network of different clock neurons groups controls drosophila activity rhythms. The Neuropeptide PDF is specifically expressed in some of these clock neurons, the s-LNvs. The s-LNvs development begins at the end of embryogenesis and is controlled by CLK and CYC. CLK or CYC absence induces many morphological defects of s-LNvs during development and the neurons disappear during metamorphosis. CLK and CYC thus control both the construction of the cerebral clock during development and the functioning of the molecular clock within this cerebral clock

The aim of this thesis is to compare two Lithuanian translations of A Clockwork Orange in respect of its main stylistic component the Russian “Nadsat”, to examine the intercultural translation problems arising in this translation and strategies invoked by the translators, and make decisions about the quality of the target texts. To reach this aim, descriptive and comparative methods as well as quantitative analysis are applied. The theoretical part of the thesis describes the cultural aspect in translation and translators’ role in dealing with intercultural translation problems. Further, it discusses macro and micro approach to translation, i.e. various strategies for solving intercultural translation problems, giving most attention to borrowings and slang and the difficulties they pose in translation. Moreover, softening and compensation are also presented as the most effective strategies for solving such problems. The analysis begins with the discussion of macro and micro level of problems arising in the “Nadsat” translation. Then, the strategies used by the translators are examined on the grounds of the foreignization and domestication strategies (Venuti), seven micro strategies suggested by Davies, and softening and compensation. The analysis also includes a comparison of quantity and density of borrowings and slang in the ST, TT1 and TT2 as well as of softening and compensation. Moreover, the appendices (A, B and C) include glossaries of borrowings and slang from all... [to full text]<br>Šio darbo tikslas — palyginti du Prisukamo Apelsino vertimus į lietuvių kalbą, ypatingą dėmesį skiriant pagrindiniam stilistiniam šio romano komponentui — „Nadsat” kalbos rusiškiems žodžiams, išanalizuoti su skirtingomis kultūromis susijusias problemas, kylančias šiame vertime, vertėjų naudojamas strategijas bei padaryti išvadas apie vertimų kokybę. Tikslui pasiekti pasitelkiami aprašomasis ir lyginamasis metodai bei kiekybinė analizė. Teorinėje darbo dalyje apibūdinamas kultūrinis vertimo aspektas ir vertėjo vaidmuo sprendžiant tarpkultūrines vertimo problemas. Aprašomi makro ir mikro vertimo aspektai, t. y. įvairios strategijos, naudojamos tarpkultūrinėms vertimo problemoms spręsti. Didžiausias dėmesys skiriamas skoliniams ir slengui bei jų keliamoms vertimo problemoms. Kaip vieni naudingiausių metodų sprendžiant minėtąsias problemas pristatomi sušvelninimas ir kompensacija. Analitinėje dalyje pirmiausia analizuojamos makro ir mikro problemos, su kuriomis susiduriama „Nadsat” vertime. Toliau nagrinėjamos vertėjų naudojamos strategijos remiantis „foreignization” ir „domestication” strategijomis (Venuti), septyniomis Davies siūlomomis mikro strategijomis, sušvelninimu ir kompensacija. Taip pat lyginami skolinių ir slengo, sušvelninimo ir kompensacijos strategijų kiekiai bei vartojimo dažnumas originale ir abiejuose vertimuose. Prieduose (A, B, C) pateikiami skolinių ir slengo, išrinktų iš visų trijų tekstų, žodynai su tiesioginėmis ir specifinėmis slengo reikšmėmis. D... [toliau žr. visą tekstą]

Syftet med uppsatsen är att ur ett adaptionsteoretiskt perspektiv undersöka gestaltningen av framförallt sexuellt våld i Anthony Burgess roman A Clockwork Orange (1962) och Stanley Kubricks adaption av romanen till film (1971). Genom en närstudie av hur våldet gestaltas och vad av våldet som kommuniceras mellan roman och film, är min ansats att identifiera A Clockwork Orange som estetiserad och metakritisk eller våldsförhärligande. Undersökningen visar att det vid tolkningen av A Clockwork Orange inte går att bortse från kontext och kulturell diskurs och att det sätt man talade om framförallt filmen när den hade premiär, präglade synen på den som våldsförhärligande. Undersökningen visar dock att den litterära textens tekniker och konstruerade språk skapar distans till våldsgestaltningen som gör det möjligt att omvandla den till en metaforik. Undersökningen visar vidare att det audiovisuella mediet genom ett konstnärligt formspråk förmår skapa en förståelse för våldet som en kritik mot det våld som en inte förmår distansera sig till.

S’interroger sur le décor de cinéma parait ouvrir un champ de recherche illimité, surtout lorsqu’il s’agit de la création cinématographique de Stanley Kubrick. Indéniablement le décor nous transmet l'état émotif des personnages, illustre l’ambiance des séquences et est même source de jouissance esthétique. Le décor de cinéma chez Kubrick apparaît alors comme un élément prépondérant de son langage cinématographique. Certains décors de ses films font même partie de notre mémoire cinématographique collective. Parmi ses treize longs métrages, cette recherche analyse plus précisément le décor dans A Clockwork Orange / Orange mécanique (1971), décor aussi polémique que le film lui-même. Avec une approche pluridisciplinaire : cinématographique, esthétique, sémiologique, sociologique, historique, cette recherche montre le caractère symbolique et esthétique du décor qui est lié à son aspect iconique, plastique et à son rapport à l’élément sonore du film. L’objet principal est de faire comprendre le « sens » du décor et la façon de le construire au sein du film. L’étude du décor chez Kubrick permet de connaître ses sources d’inspiration et son goût pour l’architecture, le design et les Arts. De surcroît, cette recherche atteste son caractère perfectionniste grâce auquel il est considéré comme l’un des plus grands cinéastes visionnaires de l’histoire du cinéma<br>Questions on film sets always seem to open up new fields of research, especially when the film is by Stanley Kubrick. Certainly, his scenic design conveys the emotional state of the characters illustrates the atmosphere of the sequences and even arouses our aesthetic pleasure. Kubrick’s film sets are a dominating element for his film language. Many of them are a part of our collective film memory. Among his thirteen films, this research focuses on the scenic design in A Clockwork Orange / Orange mécanique ( 1971 ) which caused as much debate as the movie itself. Thank to a multidisciplinary approach: cinematography, aesthetics, semiology, sociology, and history of art, this research shows the significance and artistic value of the film sets which are linked to its iconic and plastic aspects and to its relationship with sound. The main objective is to clarify the "meaning" of the film sets and the way they are conceived within the movie. The study of the Kubrick’s film sets allows us to know his artistic tastes, his sources, classical and contemporary, of architecture, design and Arts. Furthermore, this research gives evidence of his perfectionist character, thanks to which he is considered as one of the greatest visionary filmmakers of cinema’s history

Much linguistic research has been done on the fictional argot of A Clockwork Orange, known as Nadsat, but few efforts have been made to expand beyond the classification and analysis of Nadsat. Using Critical Discourse Analysis, this paper looks at the overarching discourse of A Clockwork Orange and aims to answer three questions: What exigencies and discourses inform the creation of these works? What techniques and power structures are employed in the construction of these works? How do these works shape or attempt to shape the discourse? To answer these questions, I look at three instances of the discourse: Burgess’s A Clockwork Orange, Kubrick’s A Clockwork Orange, and Krege’s translation, Clockwork Orange. These instances are varied over time of publication (1962, 1971, 1997), language (English, German), medium (novel, film), and culture (British, American, German), allowing enough variance to examine how the discourse changes to meet the needs of its participants.