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Chargement... L'orange mécanique (1962)par Anthony Burgess
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Un livre fantastique, utilisant à merveille un langage simple et complexe à la fois. L'histoire bien que connu par tous grâce au film de Kubrick est d'une ingéniosité rare. A relire ! Un livre terrible et fascinant. Fascinant par ses thèmes, par sa violence, par sa critique de la société. Par contre, il faut savoir que l'édition française originale n'a pas la rédemption offerte à Alex qu'on trouve dans l'édition d'aujourd'hui. L'ancienne édition n'a pas ce dernier chapitre supplémentaire. Sur ce point, je trouve l'ancienne édition plus intéressante, justement, car elle ne se réfugie pas dans la morale. Un livre qui compte autant sur le fond que sur la forme. Sur le fond, l'anticipation d'une société déchirée par une violence omniprésente, émanant aussi bien de la jeunesse que desforces de l'ordre, renvoit des échos plus actuels que jamais. A un niveau plus profond, le débat entre violence et conscience suscite une réflexion fondamentale. Sur la forme, c'est surtout le langage du naratteur, sorte de dialecte tribal, mêlant accents soviétiques et tournures gouailleuses, qui donne au roman toute sa saveur. On se rend compte à quel point l'adaptationau cinéma de Kubrick est fidèle à l'original. Avec un seul regret : celui de ne pas entendre en lisant la musique dans laquelle baigne toute cette histoire !
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. 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. 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? 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. Appartient à la série éditorialeEst contenu dansFait l'objet d'une adaptation dansEst en version abrégée dansA inspiréContient une étude deThe fictional universe in four science fiction novels: Anthony Burgess's "A Clockwork Orange," Ursula Le Guin's "The Word for World is Forest," Walter Miller's "A Canticle for Leibowitz," and Roger Zelazny's "Creatures of Light and Darkness." par Sam Joseph Siciliano Contient un commentaire de texte deContient un guide de lecture pour étudiantPrix et récompensesDistinctionsNotable ListsNewsweek's Top 100 Books: The Meta-List (No. 42 – 2009) Waterstones Books of the Century (No 27 – 1997)
Dans un monde dystopique furieusement proche du n©þtre, le jeune Alex s'ing©♭nie © commettre le mal sans le moindre remords : en compagnie de ses drougs, il se livre © la bastonnade, au viol et © la torture sur fond de musique classique. Bient©þt incarc©♭r©♭, il subit un traitement chimique qui le rend allergique © toute forme de violence. Tout le g©♭nie de Burgess ©♭clate dans ce livre sans ©♭quivalent, entre roman d'anticipation et conte philosophique. Le romancier, qui fut linguiste et compositeur, r©♭ussit en outre le prodige d'inventer une langue, le nadsat, dans laquelle son h©♭ros raconte sa propre histoire. © l'occasion du centenaire de la naissance d'Anthony Burgess, son roman culte, L'Orange m©♭canique, s'enrichit aujourd'hui d'une postface in©♭dite de l'auteur sur le film qu'en tira Stanley Kubrick, ainsi que de fac-simil©♭s de son tapuscrit, illustr©♭ de ses propres dessins, permettant de jeter un ©♭clairage nouveau sur ce classique de la litt©♭rature anglaise. " Je ne connais aucun ©♭crivain qui soit all©♭ aussi loin avec le langage. " William S. Burroughs Aucune description trouvée dans une bibliothèque |
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6 juin 2018 - Georges-Belmont-et-Hortense-Chabrier-Pavillons-Poche">« L'Orange mécanique » d'Anthony Burgess
Avant d’être un chef-d’oeuvre de Stanley Kubrick, « L’Orange mécanique » est un livre effrayant et prémonitoire d’Anthony Burgess. Dans une banlieue déshumanisée, Alex, un ado déjanté dingue de Beethoven, sème la terreur avant d’atterrir en prison pour y subir un traitement effrayant.
--Nathalie Dupuis