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A Clockwork Orange por Anthony Burgess
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A Clockwork Orange (original 1962; edição 1986)

por Anthony Burgess

MembrosCríticasPopularidadeAvaliação médiaMenções
22,720351116 (4)694
Told through a central character, Alex, the disturbing novel creates an alarming futuristic vision of violence, high technology, and authoritarianism. A modern classic of youthful violence and social redemption set in a dismal dystopia whereby a juvenile deliquent undergoes state-sponsored psychological rehabilitation for his aberrant behavior.… (mais)
Membro:levan.matthew
Título:A Clockwork Orange
Autores:Anthony Burgess
Informação:W. W. Norton & Company, Paperback, 192 pages
Colecções:A sua biblioteca
Avaliação:****
Etiquetas:Nenhum(a)

Pormenores da obra

A Clockwork Orange por Anthony Burgess (1962)

  1. 331
    Nineteen Eighty-Four por George Orwell (wosret)
  2. 262
    Brave New World por Aldous Huxley (MinaKelly)
  3. 131
    One Flew over the Cuckoo's Nest por Ken Kesey (lucyknows, Gregorio_Roth, Gregorio_Roth)
    lucyknows: One Flew Over the Cuckoo's Nest by Ken Kesey may be paired with A Clockwork Orange by Anthony Burgess or The Outsider by Albert Camus. All three novels explore the them of society versus the individual.
  4. 132
    The Handmaid's Tale por Margaret Atwood (wosret)
  5. 62
    The Stranger por Albert Camus (SanctiSpiritus)
  6. 62
    Riddley Walker por Russell Hoban (fugitive)
  7. 41
    A Boy and His Dog por Harlan Ellison (artturnerjr)
    artturnerjr: Futuristic ultraviolent teenage blues
  8. 20
    The Midwich Cuckoos por John Wyndham (SnootyBaronet)
    SnootyBaronet: Teddy boys
  9. 20
    Hoppla! 1 2 3 (French Literature) por Gérard Gavarry (bluepiano)
    bluepiano: Central character is another criminally violent leader of a gang of youths. Here too the gang use slang terms of the author's devising. Less violence, a less straightforward narration, & to me a more interesting and striking book.
  10. 20
    Brighton Rock por Graham Greene (John_Vaughan)
  11. 10
    Rubicon Harvest por C. W. Kesting (Aeryion)
    Aeryion: The sub-culture of designer drug use and it's effect on the gritty society within Rubicon call back to A Clockwork Orange like an anesthetized echo. The prevalent use and abuse of the potent designer neurocotic Synth and the language (Illuminese) that the addicts speak amongst themselves is a brilliant homage to Burgess's original genius! This story gave me shivers as I read through the vivid hallucinatory narrative. A must read for every fan of the genre!… (mais)
  12. 77
    The Catcher in the Rye por J. D. Salinger (SqueakyChu)
  13. 22
    Cloud Atlas por David Mitchell (sturlington)
  14. 01
    A Dead Man in Deptford por Anthony Burgess (Utilizador anónimo)
  15. 01
    Marabou Stork Nightmares por Irvine Welsh (SqueakyChu)
  16. 13
    The Loneliness of the Long-Distance Runner por Alan Sillitoe (thatguyzero)
1960s (8)
Read (47)
Teens (7)
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» Ver também 694 menções

Inglês (330)  Espanhol (5)  Francês (4)  Alemão (3)  Sueco (2)  Finlandês (1)  Holandês (1)  Italiano (1)  Português (1)  Português (Brasil) (1)  Dinamarquês (1)  Todas as línguas (350)
Mostrando 1-5 de 350 (seguinte | mostrar todos)
This would ordinarily be a 4 or possibly even 5 star story for me as I've a weakness for dystopian worlds. However, I felt like readability was sacrificed for a back-fired attempt at authenticity. There is certainly nothing wrong with evolving a unique language to add a layer of reality to your universe. Unfortunately, the Nadsat language in the story was applied with such a heavy hand that I found myself needing to flip back to the glossary constantly. In the end, this need defeated the very purpose of the artificial language by forcing me out of the universe instead of making it feel more complete.

A pity really as the story, underlying meaning, universe, and characters are all quite magnificent. ( )
  Zoes_Human | Aug 25, 2021 |
This... was truly a bizarre book.

A terribly dark book of teenage hooligans raping and thieving their way through the nights, all speaking the most bizarre Russianish slang that's... interesting at best to read--up until the main character is caught and then re-educated in a perfect example of 'do the ends justify the means'. It's... really really bizarre.

It probably doesn't help when this version at least starts with an author's note that more or less tells you not to read the book:

I should myself be glad to disown it for various reasons, but this is not permitted. I receive mail from students who try to write theses about it, or requests from Japanese dramaturges to turn it into a sort of Noh play. It seems likely to survive, while other works of mine that I value more bite the dust. This is not an unusual experience for an artist.

At least the original 21st chapter is included? I'm not sure if it makes as large a difference as they claim it does.

Overall, it's probably worth a read? Maybe? It's hard to say. Now I feel like I have to go watch the film. Wish me luck.

Random bizarre thoughts:

Well, what they sold there was milk plus something else. They had no licence for selling liquor, but there was no law yet against prodding some of the new veshches which they used to put into the old moloko, so you could peet it with vellocet or synthemesc or drencrom or one or two other veshches which would give you a nice quiet horrorshow fifteen minutes admiring Bog And All His Holy Angels And Saints in your left shoe with lights bursting all over your mozg.

Drug milk. That's certainly a thing.

But old Dim, as soon as he’d slooshied this dollop of song like a lomtick of redhot meat plonked on your plate, let off one of his vulgarities, which in this case was a lip-trump followed by a dog-howl followed by two fingers pronging twice at the air followed by a clowny guffaw.

The ... whole dang book is like this. Sometimes better, sometimes worse. But man it's ... hard to read.

‘It may not be nice to be good, little 6655321. It may be horrible to be good. And when I say that to you I realize how self-contradictory that sounds. I know I shall have many sleepless nights about this. What does God want? Does God want goodness or the choice of goodness? Is a man who chooses the bad perhaps in some way better than a man who has the good imposed upon him?

There's a hint of something really deep here with the whole 'ends justify the means'. I don't know if it's turly gone into in as much detail as it could be, but it's still an interesting thought. ( )
  jpv0 | Jul 21, 2021 |
Publicado pela primeira vez em 1962, e imortalizado 9 anos depois pelo filme de Stanley Kubrick, Laranja Mecânica não só está entre os clássicos eternos da ficção como representa um marco na cultura pop do século 20. Meio século depois, a perturbadora história de Alex – membro de uma gangue de adolescentes que é capturado pelo Estado e submetido a uma terapia de condicionamento social – continua fascinando, e desconcertando, leitores mundo afora. Esta edição especial de 50 anos em capa dura e impressa em duas cores (preto e laranja), inclui: * Ilustrações exclusivas de Angeli, Dave McKean e Oscar Grillo * Trechos do livro restaurados pelo editor inglês * Notas culturais do editor * Artigos e ensaios escritos pelo autor, inéditos em língua portuguesa * Uma entrevista inédita com Anthony Burgess * Reprodução de seis páginas do manuscrito original, com anotações e ilustrações do autor
  matheus1berto21 | Jul 15, 2021 |
A classic but an acquired taste. ( )
  Jimbookbuff1963 | Jun 5, 2021 |
Excellent book. But I agree with the American editor who did not publish the last chapter for the US version. I like the ending of the penultimate chapter where the reader is left wondering what is worse the cure or the natural state. In the version I read (published by Easton Press) the original last chapter that was published everywhere else (UK and the world) portrays the The Humble Narrator to be redeemed to some extent. For me, that limits my imagination and the ability of the reader to bring something to the book themselves. Still, this is a great read. The first third of the book I found particularly difficult to read because of the violence. The middle third was interesting from the point of view of how the treatment is perceived by The Humble Narrator. The last third is interesting how everything comes back to roost for The Humble Narrator. Is he redeemed? Is it necessary to be able to choose between good and evil in order to be a moral person? Is someone who is hardwired for evil (or for good) amoral? And what is the limits of the state in keeping its citizens safe (or rather in line with state expectations of behaviour)?

Interesting questions.

I like this rating system by ashleytylerjohn of LibraryThing (https://www.librarything.com/profile/ashleytylerjohn) that I have also adopted:
(Note: 5 stars = rare and amazing, 4 = quite good book, 3 = a decent read, 2 = disappointing, 1 = awful, just awful.) ( )
  Neil_Luvs_Books | May 23, 2021 |
Mostrando 1-5 de 350 (seguinte | mostrar todos)
Mr. Burgess, whenever we remeet him in a literary setting, seems to be standing kneedeep in the shavings of new methods, grimed with the metallic filings of bright ideas. A Clockwork Orange, for example, was a book which no one could take seriously for what was supposed to happen in it-its plot and "meaning" were the merest pretenses-but which contained a number of lively notions, as when his delinquents use Russian slang and become murderous on Mozart and Beethoven. In a work by Burgess nothing is connected necessarily or organically with anything else but is strung together with wires and pulleys as we go.
adicionada por SnootyBaronet | editarThe New York Times, John Bayley
 
Burgess’s 1962 novel is set in a vaguely Socialist future (roughly, the late seventies or early eighties)—a dreary, routinized England that roving gangs of teenage thugs terrorize at night. In perceiving the amoral destructive potential of youth gangs, Burgess’s ironic fable differs from Orwell’s 1984 in a way that already seems prophetically accurate. The novel is narrated by the leader of one of these gangs-—Alex, a conscienceless schoolboy sadist—and, in a witty, extraordinarily sustained literary conceit, narrated in his own slang (Nadsat, the teenagers’ special dialect). The book is a fast read; Burgess, a composer turned novelist, has an ebullient, musical sense of language, and you pick up the meanings of the strange words as the prose rhythms speed you along.
adicionada por SnootyBaronet | editarThe New Yorker, Pauline Kael
 
A Clockwork Orange, the book for which Burgess — to his understandable dismay — is best known. A handy transitional primer for anyone learning Russian, in other respects it is a bit thin. Burgess makes a good ethical point when he says that the state has no right to extirpate the impulse towards violence. But it is hard to see why he is so determined to link the impulse towards violence with the aesthetic impulse, unless he suffers, as so many other writers do, from the delusion that the arts are really rather a dangerous occupation. Presumably the connection in the hero’s head between mayhem and music was what led Stanley Kubrick to find the text such an inspiration. Hence the world was regaled with profound images of Malcolm McDowell jumping up and down on people’s chests to the accompaniment of an invisible orchestra.

It is a moot point whether Burgess is saying much about human psychology when he so connects the destructive element with the creative impulse. What is certain is that he is not saying much about politics. Nothing in A Clockwork Orange is very fully worked out. There is only half a paragraph of blurred hints to tell you why the young marauders speak a mixture of English and Russian. Has Britain been invaded recently? Apparently not. Something called ‘propaganda’, presumably of the left-wing variety, is vaguely gestured towards as being responsible for this hybrid speech. But even when we leave the possible causes aside, and just examine the language itself, how could so basic a word as ‘thing’ have been replaced by the Russian word without other, equally basic, words being replaced as well?
adicionada por SnootyBaronet | editarNew York Review of Books, Clive James
 
But all in all, “A Clockwork Orange” is a tour-de-force in nastiness, an inventive primer in total violence, a savage satire on the distortions of the single and collective minds.
 
In A Clockwork Orange, Anthony Burgess has written what looks like a nasty little shocker but is really that rare thing in English letters—a philosophical novel. The point may be overlooked because the hero, a teen-age monster, tells all about everything in nadsat, a weird argot that seems to be all his own. Nadsat is neither gibberish nor a Joycean exercise. It serves to put Alex where he belongs—half in and half out of the human race.
adicionada por Shortride | editarTime (Feb 15, 1963)
 

» Adicionar outros autores (35 possíveis)

Nome do autorPapelTipo de autorObra?Estado
Burgess, Anthonyautor principaltodas as ediçõesconfirmado
Arbonès, JordiTradutorautor secundárioalgumas ediçõesconfirmado
Šenkyřík, Ladislavautor secundárioalgumas ediçõesconfirmado
Biswell, AndrewEditor and Introductionautor secundárioalgumas ediçõesconfirmado
Brumm, WalterTradutorautor secundárioalgumas ediçõesconfirmado
Buenaventura, RamónPrefácioautor secundárioalgumas ediçõesconfirmado
Hollander, TomReaderautor secundárioalgumas ediçõesconfirmado
Jones, BenIlustradorautor secundárioalgumas ediçõesconfirmado
Lundgren, CajTradutorautor secundárioalgumas ediçõesconfirmado
Morrison, BlakeIntroduçãoautor secundárioalgumas ediçõesconfirmado
Pelham, DavidArtista da capaautor secundárioalgumas ediçõesconfirmado
Trengrove, BarryJacket Designautor secundárioalgumas ediçõesconfirmado
Walsh, JohnIntroduçãoautor secundárioalgumas ediçõesconfirmado
Welsh, IrvinePrefácioautor secundárioalgumas ediçõesconfirmado
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Goodness comes from within [...] Goodness is something chosen. When a man cannot choose he ceases to be a man.
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There is, in fact, not much point in writing a novel unless you can show the possibility of moral transformation, or an increase in wisdom, operating in your chief character or characters.
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Then I noticed, in all my pain and sickness, what music it was that like crackled and boomed on the sound-track, and it was Ludwig van, the last movement of the Fifth Symphony, and I creeched like bezoomny at that. ‘Stop!’ I creeched. ‘Stop, you grahzny disgusting sods. It’s a sin, that’s what it is, a filthy unforgivable sin, you bratchnies!’
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Wikipédia em inglês (2)

Told through a central character, Alex, the disturbing novel creates an alarming futuristic vision of violence, high technology, and authoritarianism. A modern classic of youthful violence and social redemption set in a dismal dystopia whereby a juvenile deliquent undergoes state-sponsored psychological rehabilitation for his aberrant behavior.

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Biblioteca Legada: Anthony Burgess

Anthony Burgess tem uma Biblioteca Legada. As bibliotecas legadas são bibliotecas privadas de leitores famosos introduzidas por membros do LibraryThing que integram o grupo Legacy Libraries.

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Média: (4)
0.5 12
1 96
1.5 15
2 282
2.5 49
3 970
3.5 212
4 2267
4.5 256
5 1937

W.W. Norton

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

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Penguin Australia

4 edições deste livro foram publicadas por Penguin Australia.

Edições: 0141182601, 0141037229, 0141192364, 0241951445

 

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