Journal articles: 'Clockwork orange'

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Biltereyst, Daniel. "A Clockwork Orange." Historical Journal of Film, Radio and Television 32, no. 4 (December 2012): 633–35. http://dx.doi.org/10.1080/01439685.2012.728325.

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Ingle, D. "A Clockwork Orange." BMJ 342, apr13 1 (April 13, 2011): d1266. http://dx.doi.org/10.1136/bmj.d1266.

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Ingersoll, Earl. "Burgess’ a Clockwork Orange." Explicator 45, no. 1 (October 1986): 60–62. http://dx.doi.org/10.1080/00144940.1986.11483976.

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Gfrereis, Heike. "Clockwork Orange. Friedrich Kittlers Mondfarbenkartei." Zeitschrift für Ideengeschichte 10, no. 1 (2016): 97–106. http://dx.doi.org/10.17104/1863-8937-2016-1-97.

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Hughes, Rachel, and Stephen Ford. "Film review: A Clockwork Orange." BMJ 321, Suppl S6 (December 1, 2000): 0012473b. http://dx.doi.org/10.1136/sbmj.0012473b.

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Sumner, Charles. "Humanist Drama in A Clockwork Orange." Yearbook of English Studies 42, no. 1 (2012): 49–63. http://dx.doi.org/10.1353/yes.2012.0006.

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Craik, Roger. "“Bog or God” inA Clockwork Orange." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 16, no. 4 (January 2003): 51–54. http://dx.doi.org/10.1080/08957690309598481.

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Carr, Will. "A Clockwork Orange on stage." Historical Journal of Film, Radio and Television 42, no. 1 (January 2, 2022): 117–31. http://dx.doi.org/10.1080/01439685.2022.2018559.

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Newman, Bobby. "A Clockwork Orange: Burgess and Behavioral Interventions." Behavior and Social Issues 1, no. 2 (October 1991): 61–70. http://dx.doi.org/10.5210/bsi.v1i2.169.

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Jacobs, Howy. "A Clockwork Orange—served with whipped cream?" EMBO reports 11, no. 11 (November 2010): 813–14. http://dx.doi.org/10.1038/embor.2010.165.

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Hill, Wan Ying. "In praise of the wee clockwork orange." Critical Perspectives on Accounting 10, no. 6 (December 1999): 808. http://dx.doi.org/10.1006/cpac.1999.0383.

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Rodríguez, Viviana. ""A Clockwork Orange" em Portugal: a tradução do Nadsat." Cadernos de Tradução 42, no. 01 (November 24, 2022): 1–20. http://dx.doi.org/10.5007/2175-7968.2022.e83222.

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A Clockwork Orange, romance escrito pelo autor britânico Anthony Burgess, é notável pelo uso do Nadsat, uma gíria inventada pelo autor. O romance apresenta um desafio de tradução significativo, uma vez que a criatividade linguística e os estilos transgressivos são muitas vezes difíceis de recriar na tradução. Em Portugal, A Clockwork Orange foi traduzido duas vezes: a primeira vez por José Luandino Vieira e a segunda vez por Vasco Gato, apresentando diferenças a vários níveis. Para o presente estudo optamos por averiguar quais foram as principais estratégias utilizadas por ambos os tradutores em Portugal relativamente à tradução do Nadsat.

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Robbie B. H. Goh. ""Clockwork" Language Reconsidered: Iconicity and Narrative in Anthony Burgess's A Clockwork Orange." Journal of Narrative Theory 30, no. 2 (2000): 263–80. http://dx.doi.org/10.1353/jnt.2011.0002.

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Charles Sumner. "Humanist Drama in A Clockwork Orange." Yearbook of English Studies 42 (2012): 49. http://dx.doi.org/10.5699/yearenglstud.42.2012.0049.

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Perko, Manca. "Marketing the A Clockwork Orange myth." Historical Journal of Film, Radio and Television 42, no. 1 (December 21, 2021): 43–59. http://dx.doi.org/10.1080/01439685.2022.2018563.

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Yılmaz, Mesut. "Sapkınlık Sosyolojisi'ne Sinemasal Bir Yaklaşım: A Clockwork Orange." Journal of humanities and tourism research (Online) 10, no. 10-4 (January 1, 2020): 884–900. http://dx.doi.org/10.14230/johut914.

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Darlington, Joseph. "A Clockwork Orange: The Art of Moral Panic?" Cambridge Quarterly 45, no. 2 (June 2016): 119–34. http://dx.doi.org/10.1093/camqtly/bfw004.

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McEntee, Joy. "The End of Family in Kubrick’sA Clockwork Orange." Adaptation 8, no. 3 (March 31, 2015): 321–29. http://dx.doi.org/10.1093/adaptation/apv007.

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Bradshaw, David. ""Fair Dealing" as a Defence to Copyright Infringement in UK Law: An Historical Excursion from 1802to the Clockwork Orange Case 1993." Denning Law Journal 10, no. 1 (November 16, 2012): 67–90. http://dx.doi.org/10.5750/dlj.v10i1.251.

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Purić, Biljana. "Kubrick's Neobaroque Spectacle: An Aesthetic Analysis of Artificiality and Violence in A Clockwork Orange." Issues in Ethnology and Anthropology 12, no. 2 (August 30, 2017): 489. http://dx.doi.org/10.21301/eap.v12i2.7.

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This article examines Stanley Kubrick’s film A Clockwork Orange through the concept of neobaroque. Starting with the basic elements of mise-en-scène such as costumes, scenography, and positioning of the body inside the shots, the aesthetic analysis of the film will move towards more abstract concepts such as spectacle and violence. By identifying these elements inside the film, the film itself could be understood, I argue, as a neobaroque film. Neobaroque film neither refers to a genre or a period in film history. It is an aesthetic term, with implicit references to changes in modern society, denoting a specific but also dynamic constellation of expressive and thematic elements in a given film. Occasional references to Baroque art are included not to make closer ties between two periods or forms of expression, but to suggest and show more clearly where neobaroque concepts stand in relation to the Baroque ones. A Clockwork Orange is not of the only neobaroque film. However, one thing that singles out A Clockwork Orange, is the number of traits, or neobaroque topoi, which are condensed in it. In this article, I will point out the most prominent ones, which are firmly embedded in the aesthetics of the film.

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Wellington, J., A. Wellington, M. Abbasy, M. Bhagia, D. Myles, and V. Bhure. "Ludovico’s Technique: The Literary Depiction of Aversion Therapy in ‘A Clockwork Orange’." European Psychiatry 65, S1 (June 2022): S879—S880. http://dx.doi.org/10.1192/j.eurpsy.2022.2282.

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Introduction Anthony Burgess’ novel ‘Clockwork Orange’ identifies the topical debates surrounding the use of aversion therapy (or aversive conditioning) as an effective treatment for addictive behaviours. Widely popularised in literature as ‘Ludovico’s Technique’, Burgess attempts to credit the misunderstanding and dramatization of its effects when the main protagonist is released from a prison sentence after undergoing this treatment. Objectives We aimed to highlight the depictions of aversion therapy in modern popular literature. Methods A narrative review of the current literature concerning aversion therapy and Anthony Burgess’s novel ‘A Clockwork Orange’ was conducted. Emphasis on the misinterpretation of aversive therapies was noted. Results Since the introduction of pharmacological alternatives and additional forms of psychological therapies, there has been a decline in the use of aversion therapy in recent decades. However, it is still effective when conceding the conditioning process. Likewise, its predecessor’ visual imagery’ is believed to be a more acceptable and effective form. Conclusions The depiction of aversion therapy in literature and media has played a role in shaping societal views on aversive conditioning techniques and the degree to which they are deemed acceptable forms of treatment. The “Ludovico Technique” featured in the novel ‘A Clockwork Orange’ and its film adaptation is arguably the most salient depiction of aversion therapy in popular culture. Disclosure No significant relationships.

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Vincent, Benet, and Jim Clarke. "Nadsat in translation: A Clockwork Orange and L’Orange Mécanique." Meta: Journal des traducteurs 65, no. 3 (2020): 643. http://dx.doi.org/10.7202/1077407ar.

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Pelawi, Bena Yusuf. "Juvenile Delinquency in Novel Clockwork Orange By Anthony Burgess." Lingua Cultura 8, no. 1 (May 31, 2014): 35. http://dx.doi.org/10.21512/lc.v8i1.440.

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The study aimed to reveal the role of literary work, especially a novel in reflecting the social fenomena, the juvenile delinquency in the twentieth century. The data source was an English novel ‘Clockwork Orange’ written by Anthony Burgess. The research applied library research by using reflection theory introduced by Georg Lukacs. Analysis was presented in three parts, those were the identification of major character, social setting, and the reflection of juvenile delinquency.The findings were as follows. First, the major character was Alex as his hig intensity in all the events that build the whole story. Second, the social setting described the life of teenagers, especially the juvenile delinquency as social fenomena in society. Third, the role of literary work in revealing the problem above faced by the twentieth century society. Finally, it can be concluded that the literary work has played a very important role in revealing the social fenomena.

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Strange, Carolyn. "Stanley Kubrick’s A Clockwork Orange as art against torture." Crime, Media, Culture: An International Journal 6, no. 3 (December 2010): 267–84. http://dx.doi.org/10.1177/1741659010382332.

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원윤경. "Aestheticizing and Distancing of Violence in A Clockwork Orange." Film Studies ll, no. 51 (March 2012): 213–34. http://dx.doi.org/10.17947/kfa..51.201203.008.

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Elizabeth Mathai, Ziona, and M. Nagalakshmi. "A PSYCHOLOGICAL STUDY ON THE NOVEL A CLOCKWORK ORANGE." Humanities & Social Sciences Reviews 8, no. 1 (February 10, 2020): 610–17. http://dx.doi.org/10.18510/hssr.2020.8173.

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Purpose of the study: This paper is a study on the novel A Clockwork Orange by Anthony Burgess. It is an analysis of Alex’s psychological condition and a study on the Ludovico experiment in relation to other popular experiments in psychology. The paper brings to light the dark and evil side of adolescence. Methodology: This study uses a psychological approach in analyzing the character of the protagonist Alex. Various psychological theories are applied in this paper to interpret this novel. Main Findings: Examining Alex’s depiction in the novel, he is presumed as a sociopath with a narcissistic personality disorder. The Ludovico experiment which stole the limelight in this novel is a behavioral modification technique, powered by negative reinforcement. Despite being a fictional experiment and a product of Burgess’s imagination, the Ludovico experiment is stemmed out of Ivan Pavlov’s classical conditioning. This experiment also complements Watson and Rayner’s ‘Little Albert’ experiment. The termination of Alex’s free will by the Ludovico experiment is reversed by the flooding method of desensitization. Applications of this study: The novel, A Clockwork Orange is brimming with psychological theories, hence a fascinating book to the psychologists. The protagonist Alex, continues to remain as a case-study amongst the scholars of psychology. Novelty/Originality of this study: The final chapter in the novel has various interpretations. The reversal of Alex’s condition is caused by the flooding method of desensitization. While the cause of reversal holds varied comprehension, the flooding method seems like the fitting one.

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García Solano, Ignacio. "Foucault en el cine: El caso de la Naranja Mecánica." Sincronía XXVI, no. 82 (June 1, 2022): 230–49. http://dx.doi.org/10.32870/sincronia.axxvi.n82.11b22.

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A lo largo de la historia del séptimo arte es posible encontrar películas de reflexión filosófica, tantas que la lista podría ser larga. El caso del pensamiento de Michael Foucault y su teoría del poder ha quedado reflejado en diversas entregas de cine o televisión, los ejemplos pueden ser muy amplios. Se encuentran: Brazil inspirada en la obra 1984 de George Orwell pero que también mantiene semejanza con la crítica al panóptico benthamniano, igualmente el panóptico ha sido citado en otras obras cinematográficas como Tropa de Élite, o en la serie animada Psycho-Pass. En esta ocasión hablaremos de la película A Clockwork Orange dirigida por Stanley Kubrick. Se defiende que el filme es un reflejo del pensamiento foucaultniano en torno a la genealogía del poder en la historia humana. Pero, ¿Cuál es la semejanza entre el filme y la teoría del poder en Foucault? Responder a esta pregunta nos lleva a realizar una cuestión secundaria: ¿Por qué Alexander DeLarge es tratado como un loco, no como un criminal? El tratamiento ludoviko supone que el problema no es el libre albedrío de la persona lo que debe corregirse para conseguir una conducta adecuada, sino, el tratamiento clínico, la medicación que moldea la conducta disocial del individuo. En cuanto al método a seguir, la reflexión hermenéutica ayudará a comprender e interpretar el pensamiento de Foucault, interpretando simultáneamente el trasfondo filosófico de la película.

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Melia, Matthew, Georgina Orgill, and James Fenwick. "Introduction: 50 years of A Clockwork Orange (1971)." Historical Journal of Film, Radio and Television 42, no. 1 (January 2, 2022): 1–7. http://dx.doi.org/10.1080/01439685.2022.2018561.

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Joordens, Steve, Thomas M. Spalek, Samira Razmy, and Marc Van Duijn. "A Clockwork Orange: Compensation opposing momentum in memory for location." Memory & Cognition 32, no. 1 (January 2004): 39–50. http://dx.doi.org/10.3758/bf03195819.

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Code, David J. "Don Juan in Nadsat: Kubrick's Music for A Clockwork Orange." Journal of the Royal Musical Association 139, no. 2 (2014): 339–86. http://dx.doi.org/10.1080/02690403.2014.944823.

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ABSTRACTThe critical reception of Kubrick's A Clockwork Orange (1971) often circles around two related questions: its relationship to Anthony Burgess's 1962 novel and the implications of its classical ‘compilation’ soundtrack. Revisiting both, this article challenges the pervasive emphasis in existing musicological literature on the film's use of Beethoven's Ninth Symphony by offering a formal analysis of its excerpts by (among others) Rossini, Elgar and Purcell. A fresh look at Purcell's Funeral Music for Queen Mary (1695) serves to open a dramatic lineage leading back to the seventeenth-century ‘Don Juan’ archetype, which brings in tow the vast musicological literature on Don Giovanni along with philosophical accounts from Kierkegaard through Bernard Williams. The film's notorious references to Gene Kelly's dance routine in Singin’ in the Rain (1952) add to its confrontation with individual and collective ideals of ‘liberty’ a cinematic reflexivity that can serve (with some help from Marshall McLuhan's influential 1964 study Understanding Media) to shed new light on Luis Buñuel's assertion that this is ‘the only movie about what the modern world really means’.

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Gasparyan, Gayane. "TRANSLATION AS A MODE OF INTERPRETATION AND MISINTERPRETATION OF LITERARY DISCOURSE." Armenian Folia Anglistika 18, no. 1 (25) (June 1, 2022): 114–27. http://dx.doi.org/10.46991/afa/2022.18.1.114.

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The article focuses on the so-called Nadsat, an Argot invented by A. Burgess in his well-known novel A Clockwork Orange. Nadsat identifies the teenagers’ speech that causes plenty of confusion among readers. The confusion becomes visible even in the translations of the Argot both into Russian and into Armenian that very often leads to the target readers’ misunderstanding. The aim of the article is to distinguish a number of linguistic peculiarities of Nadsat in A. Burgess’ A Clockwork Orange and to specify the translation distinctions in the target texts, which are definitely caused by certain misinterpretation of the ST cognitive code. Translation itself may be identified as a transaction operation, when the language media specific of one cultural community is transferred into another with definite configurations specific to the other cultural community to meet the target recipients’ expectations with their cultural background, mentality, genetic knowledge and experience.

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Pusparini, Dewi. "Free Will and Counterculture Movement in Anthony Burgess’ A Clockwork Orange." ELS Journal on Interdisciplinary Studies in Humanities 1, no. 4 (December 26, 2018): 475–86. http://dx.doi.org/10.34050/els-jish.v1i4.5763.

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This research explores the relation between the aspect of free will in the novel A Clockwork Orange to the social and cultural phenomena in the era of counterculture movement. The writer uses descriptive qualitative method to analyze the structural elements of the novel and relate them to the supporting data from external references. The objectives of the research which are presented as follows: 1) to describe the way the importance of free will affect the characters’ behavior in A Clockwork Orange, and 2) to reveal the way the importance of free will in this novel reflect the social condition during the era of counterculture movement. The writer also applies the genetic structuralism approach to focus the analysis on the element of free will and the way it relates to the elements of counterculture. The result of this research shows that there are several structural relations that connect both the aspect of free will in the novel and those in the era of counter-culture movement which consist of youth subculture, resistance against the state, and police brutality. The implication of this research is to promote the improvement of youth’s behavior and social awareness by the implementation of free will and safe environment, not by force or violence.

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Windle, Kevin. "Two Russian Translations ofA Clockwork Orange, or the Homecoming of Nadsat." Canadian Slavonic Papers 37, no. 1-2 (March 1995): 163–85. http://dx.doi.org/10.1080/00085006.1995.11092087.

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Ahmed, Mohammad Kaosar, and Md Mizanur Rahman. "Reading Burgesss A Clockwork Orange: Cultural Oddities and Their Social Impact." IIUC Studies 7 (November 6, 2012): 63–72. http://dx.doi.org/10.3329/iiucs.v7i0.12260.

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Anthony Burgesss A Clockwork Orange (1962) portrays the disintegration of the traditional British culture and the rise of a new youth culture in revolt which produced violence and perversity. This youth culture started pervading the layers of the traditional British culture. The 1960s had found the British culture assuming a distorted shape both in values and norms - a culture completely opposite to its original tradition in terms of the socioeconomic changes that took place following the Second World War. The postwar generation had to peep into the collapsed world from a perspective quite different from the previous one because of the rising tension emerging out of a new threat from nuclear war hanging overhead. This paper seeks to explore the extent to which the newly emerged culture affected the young generation and brought about chaos and disorder in British society. DOI: http://dx.doi.org/10.3329/iiucs.v7i0.12260 IIUC Studies Vol.7 2011: 63-72

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Vincent, Benet, and Jim Clarke. "The language of A Clockwork Orange: A corpus stylistic approach to Nadsat." Language and Literature: International Journal of Stylistics 26, no. 3 (August 2017): 247–64. http://dx.doi.org/10.1177/0963947017706625.

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The 1962 dystopian novella A Clockwork Orange achieved global cultural resonance when it was adapted for the cinema by Stanley Kubrick in 1971. However, its author Anthony Burgess insisted that the novel’s innovative element was the introduction of ‘Nadsat’, an art language he created for his protagonist Alex and his violent gang of droogs. This constructed anti-language has achieved a cultural currency and become the subject of considerable academic attention over a 50-year period, but to date no study has attempted a systematic analysis of its resources and distribution. Rather, a number of studies have attempted to investigate the effects of Nadsat, especially in terms of the author’s claim that learning it functioned as a form of ‘brainwashing’ embedded within the text. This paper uses corpus methods to help isolate, quantify and categorise the distinctive lexicogrammatical features of this art language and investigate how Burgess introduces a new, mainly Russian-based lexicon to readers. In doing so, it clarifies the existing confusion over what Nadsat is, and also provides a roadmap for future studies into the construction, function and translatability of the created linguistic component of the novel.

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Madsen, Eoin. "A Malenky Review of A Clockwork Orange and Attitudes Towards Behaviour Therapies." Studies in Arts and Humanities 6, no. 1 (December 14, 2020): 40–46. http://dx.doi.org/10.18193/sah.v6i1.194.

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Kadener, S., D. Stoleru, M. McDonald, P. Nawathean, and M. Rosbash. "Clockwork Orange is a transcriptional repressor and a new Drosophila circadian pacemaker component." Genes & Development 21, no. 13 (July 1, 2007): 1675–86. http://dx.doi.org/10.1101/gad.1552607.

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Lim, Chunghun, Brian Y. Chung, Jena L. Pitman, Jermaine J. McGill, Suraj Pradhan, Jongbin Lee, Kevin P. Keegan, Joonho Choe, and Ravi Allada. "clockwork orange Encodes a Transcriptional Repressor Important for Circadian-Clock Amplitude in Drosophila." Current Biology 17, no. 12 (June 2007): 1082–89. http://dx.doi.org/10.1016/j.cub.2007.05.039.

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Hanoch-Roe, Galia. "Beethoven's "Ninth": An 'Ode to Choice' as Presented in Stanley Kubrick's "A Clockwork Orange"." International Review of the Aesthetics and Sociology of Music 33, no. 2 (December 2002): 171. http://dx.doi.org/10.2307/4149775.

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Korobko, L. V. "THE NAME OF LUDWIG VAN BEETHOVEN AS THE PRECEDENT LEXICAL ITEM IN ANTHONY BURGESS’S NOVEL “A CLOCKWORK ORANGE”." Bulletin of Kemerovo State University, no. 1 (March 20, 2017): 169–77. http://dx.doi.org/10.21603/2078-8975-2017-1-169-177.

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The article analyzes features of the proper name of Ludwig van Beethoven as well as represents its intentional use in the process of verbalization of the phenomenon “Music” (based on the novel “A Clockwork” by Orange A. Burgess). On the basis of a stage-by-stage research three models of the proper name Ludwig van Beethoven within the anthroponomical field of the literary discourse of A. Burgess were allocated: MODEL I [Personal name]; MODEL II [Surname]; MODEL III [Surname + Work of Art]. The use of the model [Personal name] – Ludwig van is prepotent and reflects the main character’s personal attitude towards the composer. Functional meanings of the proper name are defined, 4 lexical portraits of Beethoven are allocated: physiological, psychological, emotional and intellectual. Positive and negative signs of Beethoven are expressed by means of evaluative lexicon and antinomies in the analyzed novel. The positive characteristic of the composer prevails, which is connected with the greatness of his figure and is motivated by the main character’s affection to Beethoven. Beethoven’s educational, noble features belong to positive signs. Negative signs of the composer’s personality are reflected in his emotional and intellectual portraits as he is represented as a gloomy, angry, mad person. In Anthony Burgess’s novel “A Clockwork Orange” both universal and specific features of Ludwig van Beethoven are represented. The universal features include physical characteristics of the musician (deafness, long flying hair, etc.), and also recognition of genius of the composer and his creations. Beethoven’s character belongs to the sphere of universal and specific features. The fact of the detached, lonely lifestyle of the musician, his severe, gloomy character, which was caused by his disease, is wellknown. Annoyance, rage, hidden threat, penetrating look are the specific features which are allocated to Beethoven by the author of the novel A. Burgess.

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Jaunas, Vincent. "From Alex to Riefenstahl: Nazism, propaganda, and Stanley Kubrick’s A Clockwork Orange (1971)." Historical Journal of Film, Radio and Television 42, no. 1 (January 2, 2022): 60–74. http://dx.doi.org/10.1080/01439685.2022.2018562.

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Hutchings, William. ""What's It Going To Be Then, Eh?": The Stage Odyssey of Anthony Burgess'sA Clockwork Orange." Modern Drama 34, no. 1 (March 1991): 35–48. http://dx.doi.org/10.3138/md.34.1.35.

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Gehrke, Pat. "Deviant subjects in foucault and A Clockwork Orange: congruent critiques of criminological constructions of subjectivity." Critical Studies in Media Communication 18, no. 3 (September 2001): 270–84. http://dx.doi.org/10.1080/07393180128088.

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Servitje, Lorenzo. "Of Drugs and Droogs: Cultural Dynamics, Psychopharmacology, and Neuroscience in Anthony Burgess’s A Clockwork Orange." Literature and Medicine 36, no. 1 (2018): 101–23. http://dx.doi.org/10.1353/lm.2018.0004.

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Höyng, Peter. "Ambiguities of Violence in Beethoven's Ninth through the Eyes of Stanley Kubrick's A Clockwork Orange." German Quarterly 84, no. 2 (April 2011): 159–76. http://dx.doi.org/10.1111/j.1756-1183.2011.00109.x.

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Malamatidou, Sofia. "Creativity in translation through the lens of contact linguistics: a multilingual corpus ofA Clockwork Orange." Translator 23, no. 3 (March 2017): 292–309. http://dx.doi.org/10.1080/13556509.2017.1294043.

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Frauen, Jan-Boje. "Turnspits and Other Malenky Machines: Laziness and Cowardice in Burgess's A Clockwork Orange." Journal of Aesthetic Education 56, no. 4 (December 1, 2022): 79–96. http://dx.doi.org/10.5406/15437809.56.4.06.

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Abstract This article argues that the first-person narrator and antihero of Anthony Burgess's famous dystopia is far from being the symbol for human freedom he has traditionally been taken to be. Quite the opposite, he is to be seen as a symbol for human “self-imposed nonage” at every point of the novel: from his alleged rebellion to his farewell to rape and aggression in the final chapter. All of his apparent acts of freedom are determined by the dynamic interplay of biological disposition and political exploitation. Burgess's theory of freedom, however, is more sophisticated than Alex's “turnspit freedom.” It is displayed in two minor characters, F. Alexander and the prison chaplain, modelled on Burgess and his cousin the Catholic Archbishop George Dwyer, respectively, who display “political awareness” that leads to decisions based on informed judgment.

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FATHALLAH-SHAYKH, HASSAN M. "FRACTAL DIMENSION OF THE DROSOPHILA CIRCADIAN CLOCK." Fractals 19, no. 04 (December 2011): 423–30. http://dx.doi.org/10.1142/s0218348x11005476.

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Fractal geometry can adequately represent many complex and irregular objects in nature. The fractal dimension is typically computed by the box-counting procedure. Here I compute the box-counting and the Kaplan-Yorke dimensions of the 14-dimensional models of the Drosophila circadian clock. Clockwork Orange (CWO) is transcriptional repressor of direct target genes that appears to play a key role in controlling the dynamics of the clock. The findings identify these models as strange attractors and highlight the complexity of the time-keeping actions of CWO in light-day cycles. These fractals are high-dimensional counterexamples of the Kaplan-Yorke conjecture that uses the spectrum of the Lyapunov exponents.

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Schirrmacher, Beate. "The Transmediation of Ambivalence. Violence and Music in Burgess’s A Clockwork Orange and Kubrick’s Film Adaptation." Ekphrasis. Images, Cinema, Theory, Media 22, no. 2 (November 27, 2019): 26–40. http://dx.doi.org/10.24193/ekphrasis.22.2.

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Lichtenberg, Illya, Howard Lune, and Patrick McManimon. "“Darker than any prison, hotter than any human flame”: Punishment, choice, and culpability inA Clockwork Orange." Journal of Criminal Justice Education 15, no. 2 (November 2004): 429–49. http://dx.doi.org/10.1080/10511250400086061.

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Journal articles on the topic 'Clockwork orange'

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