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Carver, Leland Joseph. "A Clockwork Orange: Student Advising and Technology." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou159621692037443.
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Cardoso, Letícia Pandolfo. "Youth, art and violence in A clockwork orange." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/131686.
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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.
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Mata, Ariadne Costa da. "Blissful violence ambiguity in Stanley Kubrick's a clockwork orange." Florianópolis, SC, 2002. http://repositorio.ufsc.br/xmlui/handle/123456789/83942.
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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).
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Nogueira, Forssell Joel. "Horrorsköna slovisar : Att översätta nadsat i Anthony Burgess A Clockwork Orange." Thesis, Stockholms universitet, Tolk- och översättarinstitutet, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182263.
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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.
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Horner, Matthew J. "A Clockwork Orange: The End of The “Angry Young Man” Era." Cleveland State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=csu1304982675.
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Richier, Benjamin. "Rôle des gènes clock et clockwork orange dans l'horloge circadienne chez Drosophila melanogaster." Paris 11, 2008. http://www.theses.fr/2008PA112140.
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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
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Blonskytė, Marija. "Cultural Aspect in Anthony Burgess’ Novel A Clockwork Orange: The Translation of Russian “Nadsat” into Lithuanian." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110617_093342-85819.
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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]
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Fältström, Anneliese. "Det oemotståndliga våldet : En adaptionsanalys av gestaltningen av våld i Burgess och Kubricks A Clockwork Orange." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-45046.
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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.
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Saengprapan, Pichaiwat. "Le décor chez Stanley Kubrick." Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20064.
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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
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Wallace, Willie. "Govoreeting with Lewdies: A Critical Discourse Analysis of A Clockwork Orange and its Translations Across Media and Language." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3748.
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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.
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Forbes, Chad Edward. "Lessons Learned from a Clockwork Orange: How Retraining Implicit Attitudes and Stereotypes Affects Motivation and Performance under Stereotype Threat." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/195809.
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While evidence suggests stereotype threat effects invade conscious levels of processing, less is known about the role that implicit processes play in stereotype threat. Results from four studies indicate that implicit attitudes and stereotypes play a unique role in motivation and performance in stereotype threatening contexts. Women trained to have positive implicit math attitudes exhibited increased math motivation in general (Study 1). This effect was magnified among stereotype threatened women when negative stereotypes had either been primed subtly (Study 2) or implicitly reinforced (Study 3). Implicit attitudes had no effect on working memory capacity or performance however. Conversely, after retraining women to associate their gender with being good at math, they exhibited increased working memory capacity (Studies 3 and 4) and increased math performance (Study 4) in stereotype threatening situations. The enhanced performance that resulted from the positive stereotype reinforcement was mediated by the increased working memory capacity. Thus while implicit attitudes appear important for motivating stigmatized individuals to engage with stigmatized domains, stereotypes play a key role in undermining cognitive capacity that is critical for success in the domain.
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Torstensson, Erik. "Musiken ler, bilden skriker : En analys av ”anempathetic music” i film." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:du-16802.
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Denna kandidatuppsats avhandlar tre stycken analyser av tre stycken filmscener från filmerna A Clockwork Orange, Reservoir Dogs och Watchmen, tre stycken exempel på scener där så kallad anempathetic music används. Denna form av musik kan beskrivas som att den distanserar sig från vad som händer i den rörliga bilden genom att förmedla den motsatta känslan, till exempel om musiken är glad och lättsam medan en våldtäkt sker i bild. Denna uppsats analyserar i dessa tre analysexempel vad sådan filmmusik kan bidra med för berättarfunktioner och meningspotential i filmexemplens narrativ. Resultaten från analysen visade på att musiken i de tre valda analysexemplen bidrar till ökad reflektion hos publiken och hur detta möjliggör för att anempathetic music kan ses som empathetic mot publiken och deras tolkning av filmscenernas narrativ.
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Kebsi, Jyhene. "The Marriage between sciences and the state in George Orwell's «Nineteen eighty-four», Anthony Burgess's «A clockwork orange» and Owern Gregory's «Meccania: the superstate»." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/28978/28978.pdf.
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Kebsi, Jyhene. "The marriage between sciences and the state in George Orwell's Nineteen eighty-four, Anthony Burgess's A clockwork orange and Owen Gregory's Meccania: the superstate." Master's thesis, Université Laval, 2012. http://hdl.handle.net/20.500.11794/23449.
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Nineteen Eighty-Four de George Orwell, A Clockwork Orange d'Anthony Burgess et Meccania: The Superstate d'Owen Gregory révèlent trois régimes oppressifs qui manipulent la science dans le but de contrôler leurs populations. Les auteurs dénoncent la déshumanisation et l'esclavage générés par cette collaboration politico-scientifique. Ainsi, cette étude va explorer les dystopies susmentionnées en analysant leur critique du mariage politico-scientifique. Je vais montrer que la coopération entre les politiciens et les scientifiques est destinée à contrôler les individus et à pénaliser les éléments dissidents. Je vais examiner les mécanismes politico-scientifiques de surveillance et de punition, tout en montrant que les politiciens usent de la science pour assurer la continuité et la stabilité des régimes tyranniques. Finalement, je vais souligner la capacité de l'écriture à dévoiler les abus politico-scientifiques, et à prévenir une coalition entre la connaissance scientifique et le pouvoir despotique.
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Vandenheede, Jan. "Contributions à la musique contemporaine : idées, textes, partitions." Paris 1, 2004. http://www.theses.fr/2004PA010707.
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La première partie est focalisée sur la transformation d'œuvres, explique une approche réaliste à l'œuvre ouverte et propose des solutions efficaces au problème de la transcription de rythmes jugés extrêmement difficiles, en occurrence des rythmes qui utilisent des échelles de durées chromatiques ou semblables dans Struktur I, œuvre commandée par l'IRCAM. La deuxième partie est centrée sur la narrativité, explique les mécanismes sous-jacents au discours musical de Struktur I, auquel un conflit et un passage sublime sont essentiels, et dévoile les secrets de la musique dans Orange Mécanique de Stanley Kubrick. Une troisième partie propose un système de comptage interne qui vise à augmenter la résolution temporelle en solfège, et une méthode pour réduire de façon agréable le nombre de bits piratables d'un signal musical. Cette dernière est utile si on veut mettre des fichiers de sons sur internet et peut fournir la base d'une simulation efficace de bruits tels que ceux de la mer.
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Sorlin, Sandrine. "Des utopies linguistiques aux langues fantastiques : les cas de Orwell, Burgess, Hoban, et Golding." Lyon, Ecole normale supérieure, 2006. http://www.theses.fr/2006ENSF0032.
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Cette thèse s'intéresse aux utopies linguistiques théoriques et fictionnelles, depuis les "langues philosophiques" du XVIIe siècle jusqu'aux langues internationales du XXe siècle (elles-mêmes issues des projets de langues universelles du XIXè siècle), avant de s'attarder sur leurs avatars littéraires au XXe siècle. Quatre romans en particulier sont à l'étude : "Nineteen eighty-four" de George Orwell, "A clockwork orange" d'Anthony Burgess, "Riddley Walker" de Russell Hoban, et "The Inheritors" de William Golding. Ces oeuvres écrites dans un anglais altéré, modifié, déformé, sont analysés à la lumière des inventions utopistes de langue afin de déterminer s'il y a filiation, continuité ou rupture. Il est d'abord proposé une histoire des idées linguistiques afin de bien saisir les motivations, les buts et les enjeux des projets de langue artificielle chargée de décrire le monde de manière exacte et univoque, depuis le "caractère universel" de Francis Bacon jusqu'aux langages formels des logiciens au XXè siècle. L'analyse conduite montre que loin de rendre compte du monde de façon objective et neutre, les projets utopiques, lui imposent un modèle idéologique toujours déjà linguistique. Les romans du XXè siècle s'inscrivent alors en rupture par rapport à ce rêve d'une humanité réconciliée grâce à un langage unique et parfait. Ils présentent en effet des hommes qui ont perdu leurs repères, et le langage qui les traverse, qualifié de "fantastique", est obscur, parfois méconnaissable, jouant toutes ses "imperfections". Mais à travers les déformations qu'il subit, le langage parvient à se libérer du moule idéologique de l'oeuvre et à en sublimer le pessimisme, révélant toute sa puissance interne, génératrice d'être. Cette thèse met en évidence la capacité du langage à structurer ou à produire le monde, qu'il s'agisse du monde réel (les utopies linguistiques) ou du monde fictionnel (les langues fantastiques)<br>This dissertation deals with the theorical and fictional arificial languages, dating back to the 17th-century philosophical languages until the 20th-century international languages the latter arising from the universal language projects of the 19th century, before dwelling upon their 20th century literary avatars. Four novels in particular are under study : "Nineteen eighty-four" by George Orwell, "A clockwork orange" by Anthony Burgess, "Riddley Walker" by Russell Hoban, and "The inheritors" by William Golding. These books written in a distorted language are analysed in the light of those utopian languages to determine whether there is filiation, continuity or rupture. The work sarts with an overview of man's different conceptions of language to fully grasp the motivations goals and stakes of these projects of artificial language designed to describe the world accurately and unambiguously, from Francis Bacon's "universal character" to the logicians formal languages in the 20th century. The analysis carried out shows that far from giving an objective and neutral reading of the world, the utopian projects apply to it an ideological pattern which is always already linguistic. The novels of the 20th century break off with the dream of humanity reconciled by a unique and perfect language. Indeed, they present man at a loss in a nightmarish atmosphere and the English language used is "fantastic", obscure, sometimes unrecognizable, playing with what the projectors called its "imperfections". However, in and through the alteration undergone, language succeeds in setting itself free from the ideological mould of the story and in sublimating the pessimis, enhancing its inner, engendering power. This thesis brings out the capacity of language to structure or generate the world, be it the real world (the utopian language) or the fictional world (the "fantastic" language)
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Rogerson, Charles W. "Clockwork oranges : the development of the cyborg as fictional character /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487757723996083.
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Wilson, Mark Robert. "Historicizing Maps of Hell." Miami University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1115503544.
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Jaunas, Vincent. "La subjectivité au prisme de la réflexivité dans l'oeuvre de Stanley Kubrick : de "2001 l'Odyssée de l'espace" à "Eyes Wide Shut"." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30059.
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Cette thèse ambitionne d’interroger la notion de subjectivité dans la seconde moitié de la filmographie de Stanley Kubrick. Il s’agit d’explorer la façon dont le cinéaste, de 2001 : L’Odyssée de l’espace (1968) à Eyes Wide Shut (1999), fait montre d’une myriade d’effets réflexifs interrogeant, tant la dynamique au cœur de la subjectivité spectatorielle, que celle de l’entité auctoriale dont la présence surplombante s’irradie dans chaque film, et ce pour mettre à jour la façon dont l’œuvre de Kubrick se caractérise, par-delà sa grande variété de tons et de thématiques abordées, par une exploration sans relâche de la difficile relation qui unit, et parfois sépare, le sujet et le monde. Je suggère que chaque œuvre explore la relation entre une subjectivité portée par un désir de simplicité, d’homogénéité et d’unicité, et un réel complexe, polymorphe et ininterprétable. Cette analyse prend appui sur une variété d’approches méthodologiques (la narratologie côtoie la psychanalyse, la philosophie, la sémiotique, les études de la réception ou encore les études actorales) et tire également profit de l’importante ressource documentaire disponible aux Archives Stanley Kubrick (University of the Arts London). Elle résulte d’une volonté d’exploiter les voies ouvertes ces dernières années par la recherche kubrickienne, notamment grâce au travail en archives, pour offrir une analyse textuelle enrichie par cet apport. Ainsi, des considérations extra-filmiques telles que l’étude de la persona du cinéaste ou du processus de production des œuvres, viennent compléter l’analyse textuelle des films eux-mêmes<br>This doctoral dissertation aims at questioning the notion of subjectivity in the second half of Stanley Kubrick’s filmography. I explore the way the filmmaker, from 2001: A Space Odyssey (1968) to Eyes Wide Shut (1999), displays a myriad of reflexive effects which question the dynamics at the heart of both spectatorial and auctorial subjectivities (the presence of the latter infusing all the films of the corpus) and reveal how the films articulate a reflection on the relationship uniting (or separating) the subject and the world. I argue that the films, beyond their apparent diversity, all display an opposition between a subjectivity driven by a wish for simplicity, unity and homogeneity, and the complex, heterogeneous and polymorphous nature of reality. This analysis relies on a variety of methodological approaches – from narratology to psychoanalysis, philosophy or semiotics, from reception studies to actor studies – and also exploits resources available at the Stanley Kubrick Archives (University of the Arts London). This dissertation stems from the desire to exploit the various paths recently opened by Kubrickian scholarship (notably drawing on archival material) so as to provide a textual analysis fuelled by the findings of recent empirical studies. Thus, extra-filmic considerations such as the study of Kubrick’s persona or of the films’ production processes complete a textual analysis of the works themselves
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Goetz, Sarah. "How To Do It Yourself." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492691222599367.
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Barga, Rachel M. "Sex Theory: Theology of the Body as Literary Criticism." Miami University Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1304527876.
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Tseng, Shun-Hua, and 曾舜華. "A Clockwork Orange: An Experiment in Translating Nadsat." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/5df5g8.
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碩士<br>國立臺灣師範大學<br>翻譯研究所<br>104<br>When it comes to literary translation, the priority should be to respect the unique qualities of different languages in the work. Only by retaining their features can the translator preserve the complicated networks of a multilingual text. Therefore, the translator should avoid an arbitrary homogenization and manifest the foreignness of the languages.
What I aim to do in my thesis is to examine the translation problems posed by Nadsat the invented sociolect in Anthony Burgess’s novel A Clockwork Orange. I will analyze the deforming tendencies, proposed by Antoine Berman, of the novel’s Chinese version. I also translate the first part of the novel to exemplify the ideal translation strategies in my opinion. Considering the huge difference between phonetic alphabets and Chinese characters, I use various strategies to construct the Chinese verson of Nadsat. Hopefully, this thesis will bring attention to the translation of invented languages and further release the potential creativity of the Chinese language.
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Václavová, Andrea. "Ruské překlady románu A Clockwork Orange A. Burgesse." Master's thesis, 2006. http://www.nusl.cz/ntk/nusl-266643.
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The diploma thesis "Russian translations of A. Burgess' novel lA Clockwork Orange" deals with the question of translation of Russian words used in the book written in English into Russian. It also deals with the problem whether the former aesthetic value of the original is being preserved in the translated works as well. You will discover linguistic and literary analyses of the original version and its three Russian translations (which were published in Russia under the title 'Заводной апельсин') and a comparison of them. The Sinélščikov's translation seems to be the most successful at the first sight. He translates the Russian expressions used in English by English and American words. But only if you read the whole book you will find out that he slightly changes the original plot and thus he also shifts the meaning of the novel. In other words he does not preserve the original aesthetic value of Burgess' work. In comparison, Nëtësovova's translation is the most successful of all as for the maintenance of artistic value of the book. Paradoxically, the most often published Bošnjak's translation is excessively vulgar and it is the less imaginative translation of all. His translation does not give the reader the possibility to get known or to understand the meaning of Burgess' literary work. Powered by TCPDF...
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Janák, Petr. "Vícejazyčnost v "A Clockwork Orange" a jeho překladech." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-353877.
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The paper explores intratextual multilingualism in A Clockwork Orange (ACO) by Anthony Burgess, and in two of its translations - into Czech and German. It analyses 180 words from Nadsat - the invented language in ACO - to reveal how lexical creativity is manifested in translation, i.e. whether and how lexical creativity that is present in the original text is changed in the translations. Changes in lexical creativity are linked to normalisation (a translation universal), and to the functions of the invented language. An existing classification of forms and functions of intratextual multilingualism is applied to invented languages and, in particular, to Nadsat. The analysis of Nadsat and its counterparts in the translations is quantitative, and is conducted using the concordancers AntConc and ParaConc. It examines the frequency of Nadsat words, their distribution throughout the text, and the way their meaning is conveyed to the reader. These data are then used in the comparison of Nadsat and the invented languages that replace it in the Czech and the German translations. The analysis shows that in both translations the number of invented lemmas is lower than in the original, and that in the German translation (UO) the number is significantly lower compared to the Czech translation (MP). In total, MP...
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Novo, Ana Daniela Sousa. "A Food Odyssey: The Role of Food in Stanley Kubrick's Lolita, A Clockwork Orange and Barry Lyndon." Master's thesis, 2020. https://hdl.handle.net/10216/130173.
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Novo, Ana Daniela Sousa. "A Food Odyssey: The Role of Food in Stanley Kubrick's Lolita, A Clockwork Orange and Barry Lyndon." Dissertação, 2020. https://hdl.handle.net/10216/130173.
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Yu-ta, Lee, and 李侑達. "An Age without Faith:The Loss and Reconstruction of Order and Identity in Brighton Rock and A Clockwork Orange." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/19122654420777489046.
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碩士<br>中國文化大學<br>英國語文學研究所<br>96<br>In Brighton Rock and A Clockwork Orange, what is obviously in common is the question of juvenile delinquency of the two protagonists, Pinkie and Alex; what comes after is the question of the loss of the society’s order and people’s identities. In psychoanalytic views we can find that the environmental effect has its function on people, and the society may be one of the factors. The situation on society may possibly have a great influence on their abnormal and anti-social psychology and behaviors. Also, when we adopt Freud’s theories of psychoanalysis, the conflicts between id, ego, and super-ego and the influence of the Oedipus complex are brought out, and they help us realize the patterns of Pinkie’s and Alex’s mental world.
Furthermore, home is the other factor of the environmental effect. It is in great possibility that delinquency and neuroses all lie in the home, which will be discussed in both the culture study and the psychology approach. The external frustration of family backgrounds and breakdowns of people will lead to their internal frustration of the libido, in which the Oedipus complex also participates. That is the cause of neurotic symptoms, which are greatly connected to delinquency and the attitude toward sex. In this process Pinkie and Alex have lost the order of their life and their own identities.
Finally, the discussion of the conflict between the ego and the super-ego is significant. In the development of human civilization, religion has played an important role of maintain the social order by the conscience and the sense of guilt, which join the super-ego and has a strict censorship on the ego. Obviously, the differences between Pinkie and Alex are whether they are influenced by traditional religion and have a strong ego or not, which originates in the home. Thus family education should be responsible for helping the development of a strong ego, which is the way to reconstruct order and identity.
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VYHLIDALOVÁ, Nikola. "A CLOCKWORK ORANGE: THE SIGNIFICANCE AND IMPLICATIONS OF MUSIC IN BURGESS'S NOVEL AND ITS PRESENTATION IN KUBRICK'S FILM ADAPTATION." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-395034.
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This diploma thesis seeks to provide a thorough analysis of the significance and implications of music in the novel A Clockwork Orange and compare it to the role of music in the film adaptation based on this novel. Anthony Burgess, the author of the novel was an English writer and composer, whose work inspired an American film director Stanley Kubrick to make a film adaptation of the novel. The first part of this thesis deals with the life of the author of the novel, focusing mainly on the influence of music on his life. The thesis further explores the relation between music and man, music and literature, and examines the concept of music in general. The crucial part of the thesis analyses the use and function of music in the novel, provides the interpretation of the novel in terms of music and lastly, it compares the concept of music in the novel with the film adaptation.
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Pina, Medina Víctor Manuel. "El subsistema lingüístico Nadsat y su traducción a seis lenguas europeas: (alemán, francés, catalán, castellano, italiano y ruso)." Doctoral thesis, 1997. http://hdl.handle.net/10045/3830.
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ZEMANOVÁ, Lucie. "Specifičnost a originalita jazyka v románech A. Burgesse a G. Orwella." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-252626.
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The aim of this thesis is to compare two distinct principles of making new linguistic style and their role in fictional society. The thesis will present both novels (Burgess' A Clockwork Orange and Orwell's Nineteen Eighty-Four) and then it will focus on function and principles of making neologisms used in these novels. In the end the thesis will focus on summarization of both principles and it will analyze the language role in both novels.
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Willet, Eugene Kenneth 1969. "Music as sinthome: joy riding with Lacan, Lynch, and Beethoven beyond postmodernism." Thesis, 2007. http://hdl.handle.net/2152/3231.
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The films of David Lynch are full of ambiguities that derive from his habitual distortion of time, inversion of characters, and creation of ironic, dreamlike worlds that are mired in crisis. While these ambiguities have been explored from numerous angles, scholars have only recently begun to closely examine music's role in Lynch's cinematic imagination. This dissertation explores the relationship between music and fantasy through the lens of Lacanian psychoanalysis where fantasy plays a crucial role in helping psychoanalytical subjects work through their psychical crises. In particular, I look at Blue Velvet (1986), Lost Highway (1996), and Mulholland Drive (2001), showing how Lynch employs music to manage and, in the case of Mulholland Drive, move beyond the particular crises of jouissance experienced by the Characters--and also the viewers. Before engaging in my analysis of Lynch's film music, however, I begin with an extended discussion of what Kevin Korsyn describes as the current crisis of music scholarship, examining how this crisis manifests itself in recent "postmodern" interpretations of Beethoven's Ninth Symphony. Few works are invested with as much cultural capital as this one and arguably the discourse around it exhibits the crisis more acutely than any other. Korsyn restricts his analysis to the fields of musicology and music theory, but I approach the crisis of music scholarship obliquely, through my Lacanian reading of Lynch's film music. This dissertation, then, has two goals. On one hand it attempts to examine music's role in Lynch's films, and on the other, it explores how Lynch's use of music might aid us in navigating and moving beyond the institutional crises of music scholarship. This Lynchian solution to our crisis provides a glimpse of what might lie beyond postmodernism, a new philosophical movement some are calling the "New Sincerity." This term covers several loosely related cultural or philosophical movements that have followed in the wake of postmodernism, the most notable being what Raoul Eshelman and Judith Butler refer to as "performatism." Finally, I return to Beethoven's Ninth to offer a second, performative reading, demonstrating how Lynch's use of music can be translated into current musical discourse.<br>text