By psychological definition, people affected with antisocial personality disorder (also known as 'sociopaths' or 'psychopaths') have incredible manipulation skills. They fail to conform to social norms, are deceitful and aggressive, and seek to destroy with little remorse. Sex, cruelty, and dominance define parts of antisocial personality behavior, and also perfectly define the odd, near-antithesis of a hero, Alex, in A Clockwork Orange who exists as the 'beloved' psychopath in this story. He religiously ventures out on nightly rampages with his band of 'droogs' after consuming some type of spiked beverage, tearing down what society has morally built and ripping holes into the reasoning of random citizens. If ever there was a movie that depicted sociopathic behavior, A Clockwork Orange would be the one. Though this is Stanley Kubrick's adaptation to an Anthony Burgess novel about punk-rock gangs and brainwashing, the film perfectly portrays the bizarre and outlandish behaviors of a young male living with antisocial personality disorder.

Though the film is, at times, hard to understand and subtitles may be found useful, this does not change the impact the movie has; It may even add to the atmosphere Kubrick is attempting to create and emphasize. The main character in A Clock Work Orange, Alex, perfectly fits the mold and maintains all of the qualities that are considered when looking to diagnose a person with antisocial personality disorder. Alex is deceitful and manipulative. He knocks on doors claiming that his friend is hurt and lying for dead in the road and he desperately needs the help of his soon-to-be victim(s). He is impulsive. He will do anything at the drop of a hat, all of his actions are impulsive and are minimally thought out if they are thought out at all. He is aggressive.

Arancia meccanica PDF Autore: Anthony Burgess Libri Simili: Fight club Trainspotting American psycho Lolita Noi i ragazzi dello zoo di Berlino Home Disclaimer DMCA.

This is quite obvious in Alex's behavior. He not only is aggressive towards his prey, but also towards the 'brothers' which he conducts these insane acts with. If an accomplice is to turn against him or propose another idea, his aggressiveness with them is horrific.

Alex is irresponsible. Yet again, quite obviously noted. It is apparent that Alex thinks only about himself yet does not take the blame for any of his actions. When caught in the act he is quick to blame the other members of his gang and proclaim that they forced him to participate. Alex also lacks a sense of conformity and has no remorse what-so-ever for others. This is easily noted not only in his nightly charades, but also in his lack of desire to attend school, or even to get out of bed for that matter.

The movie's psychological validity comes under questioning with the introduction of the conditioning treatment Alex participates in after two years in a penitentiary. Although the actual process of Pavlovian conditioning seems to be portrayed quite accurately, many questions arise when taking a critical psychological viewpoint.

The first question to arise is the way in which Alex is chosen for this new, radical treatment. He is simply picked from a lineup of his jail mates because he bursts out with some random comment. The only thing the reverend/experimenter knows about him at the time of the selection is that he had brutally murdered someone. It is true that the jail's chaplain had taken a liking to Alex because he was young and was interested in reading the 'big book,' and Alex was vigorously trying to have the chaplain recommend him for this new treatment. But this, in no way, seems to play a role in his selection.

With the treatment being so new and so radical, it is quite possible that this is exactly how candidates were chosen, but at the same time it is extremely unscientific and unprofessional. It would not be at all possible, with today's rules and regulations set forth on the psychological community, that an experimenter would go about these means in selecting an individual that he or she sees fit for treatment.

Another question brought up by the. .A Clockwork Orange A Clockwork Orange, by Anthony Burgess occurs in a dystopian futuristic Britain and explores the idea of using psychological conditioning to eliminate crime. The protagonist, Alex, a 15-year old in England suffering from Antisocial Personality disorder; a leader of a gang involved in violence, robbery, and rape. The book has two main themes and divided into three parts; the first part of the book focuses on Alex’s criminal lifestyle, the second focuses on Alex’s rehabilitation in prison, and the third is focused on Alex’s entry back into society.

Alex is a guide on a journey into a dystopian future where the youth commit crime by night and the authorities rival their indifferences to maintain societal status quo. Dystopia is a society characterized by human misery, squalor, oppression, etc., being the opposite of utopia, an ideal place or state.

Most dystopian novels are written in the future where things have gone askew; the purpose is to examine current problems in society and predict how they might become a problem in the future. Alex suffers from antisocial personality disorder creating a habit of manipulating, exploiting, and violating the rights of others. This disorder is characterized by acts of charm and wit1 and appeal to flattery enabling one to manipulate another’s feelings.

Other qualities consist of breaking the law repeatedly, lying, stealing, starting fights and feeling no. 1088 Words 6 Pages •. .Nadsat Language in A Clockwork Orange Anthony Burgess's writing style in his most famous novel, A Clockwork Orange, is different to say the least. This novel is praised for its ingenuity, although many are disturbed by Burgess's predictions for the future.

However, for many, it is close to impossible to comprehend without outside help. This is because Burgess created a language specifically for this novel, called Nadsat. This Russian-based language forms conversations between the narrator, Alex, and his teenage, delinquent friends.

There are many assumptions as to why Burgess chose to complicate A Clockwork Orange by filling it with the confusing Nadsat language. Some opinions are that the language shows A Clockwork Orange readers where Alex and his 'droogs' were located socially in society, or that Burgess was attempting to brainwash his audience, just as the authority figures brainwashed Alex and other members of their community, or finally, to show the shift from immature, young adults to normal, mature people.

While it may not be clear to the audience why Burgess used Nadsat in A Clockwork Orange, it is easy to see that the different language adds character and depth to the novel. Alex and his friends, Pete, Georgie, and Dim, are different from the rest of the society in Burgess's novel.

Not only are their actions of. 1883 Words 5 Pages •. .A Clockwork Orange 2 A Clockwork Orange: Movie Critique One of the most controversial films of the early 1970’s, or even of all time, was a film that took the aspects of Aversion Therapy and Classical Conditioning to an all new level. A Clockwork Orange by Stanley Kubrick (1971), based on the novel by Anthony Burgess, illustrates what happens when different types of psychological therapy are used to treat violent behavior. The main character in this movie, Alex, along with his three friends, lives his life looting, raping, and brutally beating many different vulnerable people who stand no chance in defending themselves. Later on in the film Alex gets arrested and put in prison. From there he volunteers to take part in a few experiments that will help condition him to turn from his violent ways.

One experiment that is performed on Alex is an example of Aversion Therapy. Aversion Therapy is when a noxious or painful stimulation is applied while the patient behaves in the undesirable manner or is exposed and responding to stimulation associated with the symptom, and is discontinued when the behavior ceases or the relevant stimuli are removed (Jones, 1964).

In this movie Aversion Therapy was portrayed when psychologists gave Alex a shot of experimental serum while forcing him to watch violent and disturbing images of things that he was involved in before he got. 797 Words 3 Pages •.

.film A Clockwork Orange, Stanley Kubrick, an American film director and producer, creates a futuristic London where youth gang violence and other social subjects are portrayed. The main character, Alex DeLarge, is a sociopath who likes listening to Beethoven and is fascinated with raping women, amongst other things he is also the leader of the gang, which consists of Dim, Georgie and Pete. The film shows the crimes of all four men and their relentless violence inflicting physical and mental pain on others. Alex DeLarge is betrayed by his friends while at a burglary ending up in prison on a fourteen-year sentence for murder and rape. Two years later while still incarcerated Alex is chosen for a new experimental project, the Ludovico Technique, where he undergoes a ruthless regimen for two weeks. He is strapped into a chair, eyelids propped open and forced to watch violent movies while listening to his favorite composer Beethoven.

After being “cured” he is released back into society. In the scene before being released, the prison chaplain says, “There is no morality without choice”, (A Clockwork Orange). The main point of this film is surrounded by the questions of can a violent man become peaceful and or different in the way that he treats people, can this rehabilitation occur while incarcerated and once released will that man remain rehabilitated or eventually return to his natural ways. 1904 Words 6 Pages •. .Anthony Burgess' A Clockwork Orange is a dystopian novel set in an oppressive, futuristic state. Published in 1962, A Clockwork Orange is an extremely intense, graphic, and, at times, horrifying novel.

A reader begins to question their own values as they become numb and desensitized to the violence at hand. Both behaviorism and free will is occurring throughout A Clockwork Orange. A Clockwork Orange brings up a question, how much control of our own free will do we actually have? Do we really control our own lives, or are they subject to the cards we are dealt? In A Clockwork Orange, behavior analysis and free will are displayed. Human nature has long since been in question.

Alex is an extremely interesting character. He is a brutal human being who evolves as a character only to fall back into his original state. It’s almost as humans are a blank slate.

They are subject to the environment around them and they are molded by that environment. Alex longs for power. When he has it, he wants more. Alex has an almost dictatorial presence about him. He lives a life with no discipline and unfortunately suffers the consequences. His longing for power leads to his downfall and horrific rehabilitation.

Alex undergoes a terrifying reconditioning. Alex is strapped to a chair, drugged, and tortured. He is subject to the oppressive. 1440 Words 4 Pages •. .“There is a little Alex in all of us” In Anthony Burgess’s Clockwork Orange one important question keeps popping up throughout the whole book. The question is does goodness exist in this novel?

“Burgess novel is troubling and frustrating on a number of levels. He has presented us with a stark image of evil, and perhaps of a greater evil in attempting to counteract it” (Newman 68). I would have to say that no one in the novel is good. From beginning to end; page after page in one way or another someone is behaving badly.

Each character is causing another character pain or discomfort whether physical or emotional for their own personal satisfaction. In saying this question that comes to mind is what is good vs. “The choice between good and evil is a decision every man must make throughout his life in order to guide his actions and control his future. This element of choice, no matter what the outcome, displays man’s power as an individual.”(Freeclo par.

The biggest problem in the book is that everyone seems to be caught up in a power struggle trying to dominate or force everyone else to do what they want. Alex is clearly a bad or evil person.

His droogs are bad due to the fact they do bad things to people and society at large (rape, murder, assault). Yet are others characters in the story bad for doing bad things to Alex or might they simply just making life a little bit unbearable for him from time to time. Who’s to say who. 1399 Words 4 Pages •. A man who cannot choose ceases to be a man.'

—Anthony Burgess A Clockwork Orange is a novel about moral choice and free will. Alex's story shows what happens when an individual's right to choose is robbed for the good of society. The first and last chapters place Alex in more or less the same physical situation but his ability to exercise free will leads him to diametrically opposite choices—good versus evil. The phrase, 'what's it going to be then, eh?,' echoes throughout the book; only at the end of the novel is the moral metamorphosis complete and Alex is finally able to answer the question, and by doing so affirms his freedom of choice. The capacity to choose freely is the attribute that distinguishes humans from robots; thus the possibility of true and heartfelt redemption remains open even to the most hardened criminal.

A Clockwork Orange is a parable that reflects the Christian concept of sin followed by redemption. Alex's final and free choice of the good, by leaving behind the violence he had embraced in his youth, brings him to a higher moral level than the forced docility of his conditioning, which severed his ability to choose and grow up.

The question, 'what's it going to be then, eh,' is asked at the beginning of each section of the novel. In the first and third part it is asked by Alex, but in the second part it is asked by the prison chaplain. The answer does not come until the end of the. 1516 Words 4 Pages •. .The novel A Clockwork Orange written by Anthony Burgess and published in 1962 is a brilliant commentary on humanity and morality in our evermore controlling world. Burgess believes that the freedom to make moral choices is what seperates human beings from plant life and lower animals. He illustrates his beliefs on morality with his main character Alex.

Alex is given freedom to make his own choices, and is able to see good and bad as both equally valid decisions. Once the state removes Alex’s right to make these moral choices he becomes nothing more then just a thing. This novel uses elements such as the Christian idea of morality to further this point. Also Burgess uses his own creation, the language of Nadsat to further this point that our reality is subjective to our moral stances in this world. The language Brugess developed is the fashionable dialect amongst the teens of A Clockwork Orange. Nhl 2006 Pc Game Download.

Deemed Nadsat by Burgess to reflect the Russian roots of its dialect, “Indeed, the word 'nadsat' actually comes from the Russian suffix for 'teen'.” (What Effects Does the Language in A Clockwork Orange Have on the Reader). Burgess developed the language of Nadsat after learning Russian for a trip he had been planning with his wife. This article explains the language as us elements of Anglo-American, but many of the words having Slavic roots.”The language,nadsat, is explained by Blake Morrison in.

909 Words 3 Pages POPULAR ESSAYS.

Dust jacket from the first edition Author Cover artist Barry Trengrove Country United Kingdom Language English Genre,,, Published 1962 (, UK) Media type Print ( & ) & audio book (, ) Pages 192 pages (hardback edition) & 176 pages (paperback edition) A Clockwork Orange is a novel by English writer, published in 1962. Set in a near future society featuring a subculture of extreme youth violence, the teenage protagonist,, narrates his violent exploits and his experiences with state authorities intent on reforming him. The book is partially written in a -influenced called '.

According to Burgess it was a written in just three weeks. In 2005, A Clockwork Orange was included on magazine's list of the 100 best English-language novels written since 1923, and it was named by and its readers as one of the.

The original manuscript of the book has been located at 's in, Canada since the institution purchased the documents in 1971. Contents • • • • • • • • • • • • • • • • • • • Plot summary [ ] Part 1: Alex's world [ ] is a 15-year-old living in near-future dystopian England who leads his gang on a night of opportunistic, random 'ultra-violence'. Alex's friends ('droogs' in the novel's Anglo-Russian, ') are Dim, a slow-witted bruiser who is the gang's muscle; Georgie, an ambitious second-in-command; and Pete, who mostly plays along as the droogs indulge their taste for ultra-violence. Characterised as a and a hardened juvenile delinquent, Alex also displays intelligence, quick wit, and a predilection for; he is particularly fond of, referred to as 'Lovely Ludwig Van'. The novella begins with the droogs sitting in their favourite hangout, the, and drinking 'milk-plus' — a beverage consisting of milk laced with the customer's drug of choice — to prepare for a night of mayhem. They a scholar walking home from the public library; rob a store, leaving the owner and his wife bloodied and unconscious; beat up a beggar; then scuffle with a rival gang.

Through the countryside in a stolen car, they break into an isolated cottage and terrorize the young couple living there, beating the husband and his wife. In a touch, the husband is a writer working on a manuscript called ' A Clockwork Orange', and Alex contemptuously reads out a paragraph that states the novel's main theme before shredding the manuscript. Back at the Korova, Alex strikes Dim for his crude response to a woman's singing of an operatic passage, and strains within the gang become apparent. At home in his parents' futuristic flat, Alex plays classical music at top volume, which he describes as giving him orgasmic bliss before falling asleep.

Alex coyly feigns illness to his parents to stay out of school the next day. Following an unexpected visit from P.R. Deltoid, his 'post-corrective adviser', Alex visits a record store, where he meets two pre-teen girls. He invites them back to the flat, where he drugs and rapes them. The next morning, Alex finds his droogs in a mutinous mood, waiting downstairs in the torn-up and graffitied lobby.

Georgie challenges Alex for leadership of the gang, demanding that they pull a 'man-sized' job. Alex quells the rebellion by slashing Dim's hand and fighting with Georgie, then in a show of generosity, takes them to a bar, where Alex insists on following through on Georgie's idea to burgle the home of a wealthy elderly woman.

Alex breaks in and knocks the woman unconscious, but when he opens the door to let the others in, Dim strikes him in payback for the earlier fight. The gang abandons Alex on the front step to be arrested by the police; while in their custody, he learns that the woman has died from her injuries. Part 2: The Ludovico Technique [ ] Alex is convicted of murder and sentenced to 14 years in prison (His parents visit one day to inform him that Georgie has been killed in a botched robbery). Two years into his term, he has obtained a job in one of the prison chapels playing religious music on the stereo to accompany the Sunday religious services. The chaplain mistakes Alex's studies for stirrings of faith; in reality, Alex is only reading Scripture for the violent passages. After his fellow cellmates blame him for beating a troublesome cellmate to death, he is chosen to undergo an experimental behaviour-modification treatment called the Ludovico Technique in exchange for having the remainder of his sentence commuted.

The technique is a form of, in which Alex is injected with nausea-inducing drugs while watching graphically violent films, eventually conditioning him to become severely ill at the mere thought of violence. As an, the soundtrack to one of the films, Beethoven's Fifth Symphony, which in the movie adaptation was substituted by a distorted version of Beethoven's Ninth Symphony, renders Alex unable to enjoy his beloved classical music as before. The effectiveness of the technique is demonstrated to a group of VIPs, who watch as Alex collapses before a bully and abases himself before a scantily-clad young woman whose presence has aroused his predatory sexual inclinations. Although the prison chaplain accuses the state of stripping Alex of free will, the government officials on the scene are pleased with the results and Alex is released from prison. Part 3: After prison [ ] Alex returns to his parents' flat, only to find that they are letting his room to a lodger. Now homeless, he wanders the streets and enters a public library, hoping to learn of a painless method for committing suicide.

The old scholar whom Alex had assaulted in Part 1 finds him and beats him, with the help of several friends. Two policemen come to Alex's rescue, but turn out to be Dim and Billyboy, a former rival gang leader. They take Alex outside of town, brutalise him, and abandon him there. Alex collapses at the door of an isolated cottage, realising too late that it is the one he and his droogs invaded in Part 1.

The writer, F. Alexander, still lives here, but his wife has since died of injuries she sustained in the gang-rape. He does not recognise Alex, but gives him shelter and questions him about the conditioning he has undergone. Alexander and his colleagues, all highly critical of the government, plan to use Alex as a symbol of state brutality and thus prevent the incumbent government from being re-elected. Alex inadvertently reveals that he was the ringleader of the home invasion; he is removed from the cottage and locked in an upper-story bedroom as a relentless barrage of classical music plays over speakers. He attempts suicide by leaping from the window.

Alex wakes up in a hospital, where he is courted by government officials anxious to counter the bad publicity created by his suicide attempt. Placed in a, Alex is offered a well-paying job if he agrees to side with the government. A round of tests reveals that his old violent impulses have returned, indicating that the hospital doctors have undone the effects of his conditioning.

As photographers snap pictures, Alex daydreams of orgiastic violence and reflects, 'I was cured all right.' In the final chapter, Alex finds himself halfheartedly preparing for yet another night of crime with a new gang (Lenn, Rick, Bully). After a chance encounter with Pete, who has reformed and married, Alex finds himself taking less and less pleasure in acts of senseless violence. He begins contemplating giving up crime himself to become a productive member of society and start a family of his own, while reflecting on the notion that his own children will be just as destructive as he has been, if not more so. Omission of the final chapter [ ] The book has three parts, each with seven chapters. Burgess has stated that the total of 21 chapters was an intentional nod to the age of 21 being recognised as a milestone in. The 21st chapter was omitted from the editions published in the United States prior to 1986.

In the introduction to the updated American text (these newer editions include the missing 21st chapter), Burgess explains that when he first brought the book to an American publisher, he was told that U.S. Audiences would never go for the final chapter, in which Alex sees the error of his ways, decides he has lost all energy for and thrill from violence and resolves to turn his life around (a moment of ). At the American publisher's insistence, Burgess allowed their editors to cut the redeeming final chapter from the U.S.

Version, so that the tale would end on a darker note, with Alex succumbing to his violent, reckless nature—an ending which the publisher insisted would be 'more realistic' and appealing to a US audience. The film adaptation, directed by, is based on the American edition of the book (which Burgess considered to be 'badly flawed'). Kubrick called Chapter 21 'an extra chapter' and claimed that he had not read the original version until he had virtually finished the screenplay, and that he had never given serious consideration to using it. In Kubrick's opinion—as in the opinion of other readers, including the original American editor—the final chapter was unconvincing and inconsistent with the book.

Characters [ ] •: The novel's and leader among his droogs. He often refers to himself as 'Your Humble Narrator'.

Having coaxed two ten-year-old girls into his bedroom, Alex refers to himself as 'Alexander the Large' while raping them; this was later the basis for Alex's claimed surname DeLarge in the 1971 film. League Of Legends Rp Generator Activation Key on this page. • George, Georgie or Georgie Boy: Effectively Alex's greedy second-in-command. Georgie attempts to undermine Alex's status as leader of the gang and take over their gang as the new leader. He is later killed during a botched robbery while Alex is in prison. • Pete: The only one who does not take particular sides when the droogs fight among themselves. He later meets and marries a girl named Georgina, renouncing his violent ways and even losing his former () speech patterns.

A chance encounter with Pete in the final chapter influences Alex to realise that he grows bored with violence and recognises that human energy is better expended on creation than destruction. • Dim: An idiotic and thoroughly gormless member of the gang, persistently condescended to by Alex, but respected to some extent by his droogs for his formidable fighting abilities, his weapon of choice being a length of bike chain. He later becomes a, exacting his revenge on Alex for the abuse he once suffered under his command. Deltoid: A criminal rehabilitation assigned the task of keeping Alex on the straight and narrow. He seemingly has no clue about dealing with young people, and is devoid of empathy or understanding for his troublesome charge. Indeed, when Alex is arrested for murdering an old woman and then ferociously beaten by several police officers, Deltoid simply spits on him. • Prison Chaplain: The character who first questions whether it is moral to turn a violent person into a behavioural automaton who can make no choice in such matters.

This is the only character who is truly concerned about Alex's welfare; he is not taken seriously by Alex, though. He is nicknamed by Alex 'prison charlie' or 'chaplin', a pun on. • Billyboy: A rival of Alex's. Early on in the story, Alex and his droogs battle Billyboy and his droogs, which ends abruptly when the police arrive. Later, after Alex is released from prison, Billyboy (along with Dim, who like Billyboy has become a police officer) rescues Alex from a mob, then subsequently beats him in a location out of town. • Prison Governor: The man who decides to let Alex 'choose' to be the first reformed by the Ludovico technique. • The Minister of the Interior: The government high-official who determined that the Ludovico's technique will be used to cut.

He is referred to as the Inferior by Alex. Branom: A scientist, co-developer of the Ludovico technique. He appears friendly and almost paternal towards Alex at first, before forcing him into the theatre and what Alex calls the 'chair of torture'. Brodsky: Branom's colleague and co-developer of the Ludovico technique. He seems much more passive than Branom and says considerably less.

Alexander: An author who was in the process of typing his A Clockwork Orange when Alex and his droogs broke into his house, beat him, tore up his work and then brutally gang-raped his wife, which caused her subsequent death. He is left deeply scarred by these events and when he encounters Alex two years later, he uses him as a guinea pig in a sadistic experiment intended to prove the Ludovico technique unsound. He is given the name Frank Alexander in the film.

• Cat Woman: An indirectly named woman who blocks Alex's gang's entrance scheme, and threatens to shoot Alex and set her on him if he does not leave. After Alex breaks into her house, she fights with him, ordering her cats to join the melee, but reprimands Alex for fighting them off. She sustains a fatal blow to the head during the scuffle. She is given the name Miss Weathers in the film. Analysis [ ] Background [ ] A Clockwork Orange was written in, then a senescent. Burgess had arrived back in Britain after his stint abroad to see that much had changed.

A youth culture had grown, including coffee bars, pop music and teenage gangs. England was gripped by fears over. Burgess claimed that the novel's inspiration was his first wife Lynne's beating by a gang of drunk American servicemen stationed in England during. She subsequently miscarried. In its investigation of free will, the book's target is ostensibly the concept of, pioneered by such figures as. Burgess later stated that he wrote the book in three weeks. Title [ ] Burgess has offered several clarifications about the meaning and origin of its title: • He had overheard the phrase 'as queer as a clockwork orange' in a London pub in 1945 and assumed it was a expression.

In Clockwork Marmalade, an essay published in the in 1972, he said that he had heard the phrase several times since that occasion. He also explained the title in response to a question from on the television programme in 1972, 'Well, the title has a very different meaning but only to a particular generation of London Cockneys. It's a phrase which I heard many years ago and so fell in love with, I wanted to use it, the title of the book. But the phrase itself I did not make up. The phrase 'as queer as a clockwork orange' is good old East London slang and it didn't seem to me necessary to explain it.

Now, obviously, I have to give it an extra meaning. I've implied an extra dimension. I've implied the junction of the organic, the lively, the sweet – in other words, life, the – and the mechanical, the cold, the disciplined. I've brought them together in this kind of, this sour-sweet word.' Nonetheless, no other record of the expression being used before 1962 has ever appeared. Notes in his Memoirs (1991) that no trace of it appears in 's Dictionary of Historical Slang. • His second explanation was that it was a pun on the Malay word orang, meaning 'man.'

The novella contains no other Malay words or links. • In a prefatory note to A Clockwork Orange: A Play with Music, he wrote that the title was a metaphor for 'an organic entity, full of juice and sweetness and agreeable odour, being turned into a mechanism.' • In his essay Clockwork Oranges, Burgess asserts that 'this title would be appropriate for a story about the application of or mechanical laws to an organism which, like a fruit, was capable of colour and sweetness.' This title alludes to the protagonist's negative emotional responses to feelings of evil which prevent the exercise of his subsequent to the administration of the Ludovico Technique. To induce this conditioning, Alex is forced to watch scenes of violence on a screen that are with negative physical stimulation. The negative physical stimulation takes the form of and 'feelings of terror,' which are caused by an medicine administered just before the presentation of the films.

Use of slang [ ]. Main article: The book, narrated by Alex, contains many words in a slang argot which Burgess invented for the book, called. It is a mix of modified words, and derived Russian (like baboochka). For instance, these terms have the following meanings in Nadsat: droog = friend; korova = cow; gulliver ('golova') = head; malchick or malchickiwick = boy; soomka = sack or bag; Bog = God; khorosho ('horrorshow') = good; prestoopnick = criminal; rooka ('rooker') = hand; cal = crap; veck ('chelloveck') = man or guy; litso = face; malenky = little; and so on. Some words Burgess invented himself or just adapted from pre-existing languages.

One of Alex's doctors explains the language to a colleague as 'odd bits of old rhyming slang; a bit of talk, too. But most of the roots are Slav propaganda. Some words are not derived from anything, but merely easy to guess, e.g. 'in-out, in-out' or 'the old in-out' means sexual intercourse. Cutter, however, means 'money', because 'cutter' rhymes with 'bread-and-butter'; this is, which is intended to be impenetrable to outsiders (especially eavesdropping policemen). Additionally, slang like appypolly loggy ('apology') seems to derive from school boy slang. This reflects Alex's age of 15.

In the first edition of the book, no key was provided, and the reader was left to interpret the meaning from the context. In his appendix to the restored edition, Burgess explained that the slang would keep the book from seeming dated, and served to muffle 'the raw response of pornography' from the acts of violence.

The term 'ultraviolence', referring to excessive or unjustified, was by Burgess in the book, which includes the phrase 'do the ultra-violent'. The term's association with has led to its use in the media. Banning and censorship history in the US [ ] In 1976, A Clockwork Orange was removed from an high school because of 'objectionable language'. A year later in 1977 it was removed from high school classrooms in over similar concerns with 'objectionable' language.

In 1982, it was removed from two libraries, later to be reinstated on a restricted basis. Also, in 1973 a bookseller was arrested for selling the novel. The charges were later dropped. However, each of these instances came after the release of Stanley Kubrick's popular 1971 film adaptation of A Clockwork Orange, itself the subject of much controversy.

Writer's appraisal [ ]. Burgess in 1986 In 1985, Burgess published Flame into Being: The Life and Work of D. Lawrence and while discussing in his biography, Burgess compared that novel's notoriety with A Clockwork Orange: 'We all suffer from the popular desire to make the known notorious. The book I am best known for, or only known for, is a novel I am prepared to repudiate: written a quarter of a century ago, a jeu d'esprit knocked off for money in three weeks, it became known as the raw material for a film which seemed to glorify sex and violence. The film made it easy for readers of the book to misunderstand what it was about, and the misunderstanding will pursue me until I die. I should not have written the book because of this danger of misinterpretation, and the same may be said of Lawrence and Lady Chatterley's Lover.' Burgess has also dismissed A Clockwork Orange as 'too didactic to be artistic'.

Awards and nominations and rankings [ ] • 1983 – (Preliminary Nominee) • 1999 – Prometheus Award (Nomination) • 2002 – Prometheus Award (Nomination) • 2003 – Prometheus Award (Nomination) • 2006 – Prometheus Award (Nomination) • 2008 – Prometheus Award (Hall of Fame Award) A Clockwork Orange was chosen by magazine as one of the 100 best English-language books from 1923 to 2005. Adaptations [ ] The best known adaptation of the novella to other forms is the 1971 film by, starring as Alex. A 1965 film by entitled was an adaptation of Burgess' novel. [ ] In 1987 Burgess published a stage play titled A Clockwork Orange: A Play with Music.

The play includes songs, written by Burgess, that are inspired by Beethoven and Nadsat slang. In 1988, a German adaptation of A Clockwork Orange at the intimate theatre of featured a musical score by the German band which, combined with orchestral clips of and 'other dirty melodies' (so stated by the subtitle), was released on the album. The track became one of the band's signature songs. In ' multi-media stage production of A Clockwork Orange, 2003, Los Angeles. (photo: Peter Zuehlke) In February 1990, another musical version was produced at the Barbican Theatre in London by the.

Titled A Clockwork Orange: 2004, it received mostly negative reviews, with of of London calling it 'only an intellectual ', and John Gross of calling it 'a clockwork lemon'. Even Burgess himself, who wrote the script based on his novel, was disappointed. According to, he called the score, written by and of the rock group, 'neo-wallpaper.' Burgess had originally worked alongside the director of the production, Ron Daniels, and envisioned a musical score that was entirely classical. Unhappy with the decision to abandon that score, he heavily criticised the band's experimental mix of, and. Lise Hand of reported The Edge as saying that Burgess' original conception was 'a score written by a novelist rather than a songwriter'.

Calling it 'meaningless glitz', Jane Edwardes of 20/20 Magazine said that watching this production was 'like being invited to an expensive French Restaurant – and being served with a.' In 1994, Chicago's Steppenwolf Theater put on a production of A Clockwork Orange directed.

The American premiere of novelist Anthony Burgess' own adaptation of his A Clockwork Orange starred as Alex. In 2001, UNI Theatre (Mississauga, Ontario) presented the Canadian premiere of the play under the direction of Terry Costa.

In 2002, Godlight Theatre Company presented the New York Premiere adaptation of A Clockwork Orange. The production went on to play at the SoHo Playhouse (2002), Ensemble Studio Theatre (2004), 59E59 Theaters (2005) and the (2005). While at, the production received rave reviews from the press while playing to sold-out audiences. The production was directed by Godlight's Artistic Director, Joe Tantalo. In 2003, Los Angeles director and the staged a adaptation of A Clockwork Orange, which was named 'Pick Of The Week' by the and nominated for three of the 2004: Direction, Revival Production (of a 20th-century work), and Leading Female Performance.

Won Best Actress for her gender-bending portrayal of, the music-loving teenage. This production utilised three separate video streams outputted to seven onstage video monitors – six 19-inch and one 40-inch. In order to preserve the first-person narrative of the book, a pre-recorded video stream of Alex, 'your humble narrator', was projected onto the 40-inch monitor, thereby freeing the onstage character during passages which would have been awkward or impossible to sustain in the breaking of the fourth wall. An adaptation of the work, based on the original novel, the film and Burgess' own stage version, was performed by The SiLo Theatre in Auckland, New Zealand in early 2007. Release details [ ].

This article's factual accuracy is. Relevant discussion may be found on the. Please help to ensure that disputed statements are. (May 2013) () • 1962, UK, William Heinemann (ISBN?), December 1962, Hardcover • 1962, US, W. Norton & Co Ltd (ISBN?), 1962, Hardcover • 1963, US, W.

• Retrieved 2015-11-26. 19 March 1963.

Retrieved 19 September 2013. • Grossman, Lev; Lacayo, Richard (16 October 2005)..

Modern Library. Retrieved 31 October 2012 • Humphreys, Adrian (11 November 2012).. National Post. Retrieved 13 November 2012. • ^ Podgorski, Daniel (March 1, 2016).. Retrieved April 14, 2016.

• Burgess, Anthony (1995). 'Introduction: A Clockwork Orange Resucked'. A Clockwork Orange. • Ciment, Michel (1981).. The Kubrick Site. Retrieved April 14, 2016. The Floating Library.

Retrieved on 2013-10-31. • ^ Ahmed, Samira (3 July 2012).. Nightwaves (Interview).. • A Clockwork Orange () (Paperback) by Anthony Burgess, Blake Morrison xv • Burgess, A.

A Clockwork Orange, Penguin UK, 2011, introduction by Blake Morrison,: « his first wife, Lynne, was beaten, kicked and robbed in London by a gang of four GI deserters ». • A Clockwork Orange (Hardback) by Anthony Burgess, • Camera Three: Creative Arts Television, 2010-08-04. Retrieved: 2012-03-11. • ^ Dexter, Gary (2008).

Why Not Catch-21?: The Stories Behind the Titles. Frances Lincoln Ltd.

• Burgess, Anthony (2013).. Profile Books.. • AFP (29 October 2007).. From the original on 16 January 2008. Retrieved 2008-01-15.

From the original on 9 January 2008. Retrieved 2008-01-15. From the original on 5 February 2008. Retrieved 2008-01-15. • CBS News (30 October 2007)..

From the original on 2 January 2008. Retrieved 2008-01-15. • 20 April 2012 at the. American Library Association, 29 March 2007. (Accessed 24 April 2012)Document ID: a6b9d0cb-cf04-dcc4-e1b3-acda735f48bd • Flame into Being: The Life and Work of D. Lawrence (Heinemann, London 1985) Anthony Burgess, p 205 • A Clockwork Orange (Penguin Modern Classics) (Paperback) by Anthony Burgess, Blake Morrison xxii •. Retrieved 2014-01-03.

Time magazine. 16 October 2005.

From the original on 19 August 2007. Retrieved 20 August 2007.

• (20 December 1971)... International Anthony Burgess Foundation.

Retrieved 27 March 2015. Retrieved 2014-01-03.

Retrieved 2014-01-03. Retrieved 2014-01-03.

Retrieved 2014-01-03. • Kavner, Lucas (20 July 2011).. Retrieved 2011-11-28. • A A A Comments (12 February 2004).. Retrieved 2014-01-03.

• A A A Comments (29 April 2004).. Retrieved 2014-01-03. Retrieved 2014-01-03. Retrieved 2014-01-03. • Burrows, Melanya (28 January 2005)... Retrieved 14 August 2007.

Retrieved 2014-01-03. Further reading [ ] • A Clockwork Orange: A Play With Music. Century Hutchinson Ltd.

An extract is quoted on several web sites:, at the (archived 15 December 2005), • Burgess, Anthony (1978). 'Clockwork Oranges'.

London: Hutchinson. 'Why I Am Eight Years Younger Than Anthony Burgess'. At Home: Essays, 1982–1988. New York: Random House. The Encyclopedia of Science Fiction and Fantasy. External links [ ] Wikiquote has quotations related to: Wikimedia Commons has media related to. • title listing at the • at • at • Comparisons with the Kubrick film adaptation •., • Giola, Ted.

At • Priestley, Brenton.