No description available.

No description available.

No description available.

No description available.

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.

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.

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. / 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.

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.

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.

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. / 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.