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This paper examines the Italian translation of Anthony Burgess’ A Clockwork Orange, focusing in particular on the language of narration, ‘Nadsat’. This invented argot, based on English but including a good deal of Russian vocabulary, contributes to the novel’s grotesque humour and to the narrator’s manipulation of the readers. In Floriana Bossi’s Italian translation, the Russian influence on Nadsat is almost completely missing; she draws instead on Italian and dialectal vocabulary. This results in a considerable change to what in the source text is a very foreign-sounding argot. I investigate the effect that Bossi’s approach has on the humour of the narration and on the audience’s potential involvement with the main character. Notions of violent language and the violence of translation are discussed, as is the extent to which Bossi’s approach is shaped by linguistic incompatibility, target-culture poetics, and ideologies about the role of the translator.

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A Clockwork Orange - Anthony Burgess Full title Author Type of work Genre Language Time and place written Date of first publication Narrator Point of view Tone Tense Setting (time) Setting (place) Protagonist Major conflict A Clockwork Orange John Anthony Burgess Wilson (Anthony Burgess) Novella Dystopia; philosophical novel; social satire; black comedy English 19581961, England 1962 Alex narrates A Clockwork Orange immediately after the events of the novel. The narrator speaks in the first person, subjectively describing only what he sees, hears, thinks, and experiences. Irreverent; comical; hateful; playful; juvenile Past, though in the last few paragraphs the narrator switches to present tense The not-so-distant future A large town or small city in England, as well as an English countryside village Alex Alex asserts himself against the State, which seeks to suppress his freedom by psychologically removing his power to make free choices. Alex commits several violent crimes that disrupt the order of the State. Alex is apprehended by the police and sent to jail, where he eventually undergoes behavioral conditioning that kills his capacity for violence.

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Alex becomes a being incapable of making moral decisions, and he is caught up in a political struggle between the current government and a cabal of revolutionaries. The inviolability of free will; the necessity of commitment; the inherent evil of government; duality as the ultimate reality Nadsat; classical music; Christ Milk; synthemesc, vellocet and drencrom (hallucinogenic drugs); night/darkness; day/lightness In Part One, Chapter 1, Alex foreshadows more violence before the night's end by telling us that the night is still very young. In Part One, Chapter 3, the names Gitterfenster and Bettzeug foreshadow Alex's impending imprisonment and suicide attempt, respectively. In Part One, Chapter 5, Alex foreshadows the parallels between himself and Christ, which will continue throughout the novel, and shape the novel's three-part structure. In Part One, Chapter 5 Alex foreshadows his apprehension by the police, as well as everything else that befalls him, when he tells us that he leads his droogs to his doom. In Part Two, Chapter 7, Alex foreshadows the conflict in Part Three between the State and F. Alexander's faction of political dissidents when he tells us that his mention of F.

Alexander's manuscript A Clockwork Orange hushes the room for a minute. Rising action Climax Falling action Themes Motifs Symbols Foreshadowing Context A prolific writer, John Anthony Burgess Wilson (19171993) didn't publish his first novel until he was almost forty.

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Born and raised in Manchester, England, Burgess spent most of his adult life abroad in the army before teaching in Malaya with the British Colonial Service. Diagnosed with a brain tumor in 1960, Burgess began writing at a frantic pace in the hope that the royalties from his books would support his wife after he died. He wrote five novels that year alone. When he later discovered that his condition had been 1 misdiagnosed, Burgess continued to write and publish novels at a rapid rate.

Though he wrote nearly forty novels, his most famous work is the dystopian novella A Clockwork Orange (1962), which owes much of its popularity to Stanley Kubrick's 1971 film adaptation. Burgess himself thought that A Clockwork Orange was far from his best work. In an interview, he dismissed the book as gimmicky and didactic, and rued the idea that this book would survive while others that he valued more were sure to pass into obscurity. Burgess's novels address fundamental issues of human nature and morality, such as the existence of good and evil and the importance of free will. Burgess was raised as a Catholic, and though he left the church as a young man, he retained his admiration for its tenets and doctrines.