As we mentioned a week or so ago, we’re delighted to have a new chapter out in Matt Melia and Georgina Ogilvy’s edited collection Stanley Kubrick, Anthony Burgess and A Clockwork Orange. Our study looks at what happened to Nadsat in Kubrick’s adaptation of ACO, which came out in 1971. How did it survive in this process, bearing in mind Burgess wasn’t really involved in it? Did Kubrick take any liberties?
Happy New Year to readers of Ponying the Slovos!
We’re delighted to advertise the launch of Anthony Burgess, Stanley Kubrick and A Clockwork Orange a collection ably edited by Matt Melia and Georgina Orgill and which Jim and I were very happy to contribute a chapter to (based on our 2018 presentation to be found here – separate post coming very soon).
The details of book launch on 26 January at the International Anthony Burgess Foundation in Manchester can be found here. Jim is part of the panel of speakers talking about the book.
In a post back in February (apologies for the rather long gap) we discussed in broad terms the situation with Turkish translations of A Clockwork Orange, Otomatik Portakal (literally “Automatic Orange”). Our initial look at the two translations suggested that Nadsat had been largely suppressed – there was no real evidence of it as a separate anti-language. This post looks at the later and more rigorous Körpe translation in more detail to examine what happened and discuss whether there even is such a thing as Turkish-Nadsat. This post is based on work we recently presented at the fascinating I-conlangs 2022 conference held at the University of Turin. [Our slides for the presentation can be seen here.]