No description available.

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.

Allant d’une autobiographie où la fictionnalisation du vécu confine à l’invraisemblable, à des biographies imaginaires où des personae de l’auteur construisent librement la figure de leurs « biographiés », Anthony Burgess jongle avec les pactes de vérité et la fabulation-affabulation. Les vertiges cognitifs des métabiographies postmodernes affleurent en filigrane, mais à la mélancolie de l’impossible résurrection textuelle du sujet biographique, les biofictions érudites de Burgess substituent la prolifération d’existences virtuelles, de mythes, fantasmes et simulacres, pour mieux mettre en question les formes institutionnelles du genre, savantes et commerciales. Au cœur de l’entreprise [auto]biofictionnelle de Burgess, se dessine une tension contradictoire entre un désir de restituer ces « vies » dans leur réalité charnelle, individuelle, démythifiée, et l’inclination mytho-poétique du romancier qui leur impose le filtre de sa vision du monde catholique et manichéenne. Le Marlowe, le Shakespeare, le Mozart, le Napoléon, le Keats de Burgess ne sont-il que des spectres romanesques, dont les référents historiques ont été vampirisés par le romancier-biographe ? Les biofictions de Burgess, où se rencontrent, en même temps que plusieurs subjectivités artistiques, divers modes d’appréhension de l’écriture et de la vie [essai critique, chronotope biographique, flux de conscience moderniste, citation intertextuelle], réaffirment le caractère indissociable de la vie, de la création et de l’oeuvre. Sa quête romantique-humaniste qui cherche à restaurer la singularité existentielle de ses prédécesseurs conteste de l’intérieur la textualité thanatographique moderne. / In his autobiography, where his fictionalizing his « real life » borders on the unbelievable, as well as in his fictional biographies, where authorial personae freely create the figures of their biographees, Anthony Burgess juggles his way between authorial truth commitments and blatant invention. The epistemological void revealed by postmodernist metabiographies is not thoroughly absent, but Burgess’s erudite « biofictions » eschew such melancholy brooding on the impossibility to resurrect the biographee, and, instead, celebrate virtual possibilities of existence, myths, fantasies and simulacra – and, doing so, deflate the naïve seriousness of academic or popular versions of the genre. At the core of Burgess’s literary experiments in the [auto]biographical mode lies a contradictory tension between his desire to fully convey the bodily, individual, de-mythified reality of these lives, and the novelist’s mytho-poetical tendency to filter them through the lens of his Catholic and Manichean worldview. Are his Marlowe, Shakespeare, Mozart, Napoleon and Keats but spectral fictional figures, whose historic real selves have been cannibalized by the idiosyncrasy of the novelist-biographer ? Burgess’s « biofictions » are a confluence of several artistic selves, but also of several ways to comprehend the relationship between life and writing [critical essay, biographical chronotope, modernist flow of consciousness, intertextual quotation], thus reasserting the organic connection between life, creation, and the work of art. His romantic-humanist quest for the singular existential selves of his artist predecessors challenges, from within the text, modern thanatographic textuality.

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. / 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.

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.

Made available in DSpace on 2016-06-02T20:11:04Z (GMT). No. of bitstreams: 1 6318.pdf: 1199095 bytes, checksum: 81564b66dfc3200644f830d3a8f5f82d (MD5) Previous issue date: 2014-08-18 / This dissertation seeks to analyze the dystopic novel The Wanting Seed (1962), by the English writer Anthony Burgess with the objective of identifying in which way both structure and the development of the work points to, at an aesthetic level, the global feeling of utopia, which Fredric Jameson (2007) calls utopic desire or utopic impulse, which is present in daily life, in politics, in social movements and revolutions. Through the political reading, this research tries to show that, far beyond a novel about a degenerated future by overpopulation, this book presents, in its formal contradictions, much from the social, political and economic global movement of which it is part. / Esta dissertação procura analisar o romance distópico The Wanting Seed (1962), do inglês Anthony Burgess com o objetivo de identificar de que maneira a estrutura e o desenvolvimento da obra aponta, em nível estético, o sentimento global de utopia, o que Fredric Jameson (2007) chama de desejo utópico ou impulso utópico, que está presente na vida cotidiana, na política, em movimentos sociais e revoluções. Por meio da leitura política, este trabalho procura mostrar que, muito além de um romance sobre um futuro degradado pela superpopulação, essa obra apresenta, em suas contradições formais, muito do movimento social, político e econômico global do qual é parte.

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.

Allant d'une autobiographie où la fictionnalisation du vécu confine à l'invraisemblable, à des biographies imaginaires où des personae de l'auteur construisent librement la figure de leurs " biographiés ", Anthony Burgess jongle avec les pactes de vérité et la fabulation-affabulation. Les vertiges cognitifs des métabiographies postmodernes affleurent en filigrane, mais à la mélancolie de l'impossible résurrection textuelle du sujet biographique, les biofictions érudites de Burgess substituent la prolifération d'existences virtuelles, de mythes, fantasmes et simulacres, pour mieux mettre en question les formes institutionnelles du genre, savantes et commerciales. Au cœur de l'entreprise [auto]biofictionnelle de Burgess, se dessine une tension contradictoire entre un désir de restituer ces " vies " dans leur réalité charnelle, individuelle, démythifiée, et l'inclination mytho-poétique du romancier qui leur impose le filtre de sa vision du monde catholique et manichéenne. Le Marlowe, le Shakespeare, le Mozart, le Napoléon, le Keats de Burgess ne sont-il que des spectres romanesques, dont les référents historiques ont été vampirisés par le romancier-biographe ? Les biofictions de Burgess, où se rencontrent, en même temps que plusieurs subjectivités artistiques, divers modes d'appréhension de l'écriture et de la vie [essai critique, chronotope biographique, flux de conscience moderniste, citation intertextuelle], réaffirment le caractère indissociable de la vie, de la création et de l'oeuvre. Sa quête romantique-humaniste qui cherche à restaurer la singularité existentielle de ses prédécesseurs conteste de l'intérieur la textualité thanatographique moderne.

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...