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‘Canaille, canaglia, Schweinhunderei’: Languages Personalities and Communication Failure in the Multilingual Fiction of Anthony Burgess

Julian Preece Orcid Logo

Polyphonie, Volume: 6, Issue: 1, Pages: np - np

Swansea University Author: Julian Preece Orcid Logo

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Abstract

Anthony Burgess (1917-1993) drew on his knowledge of foreign languages in a range of novels throughout a literary career which spanned four decades, for most of which time he lived in non-English speaking countries, such as Malaya, Malta, Italy or Monaco. He also practised as a translator from both...

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Published in: Polyphonie
ISSN: 2304-7606
Published: Polyphonie Mehrsprachigkeit_Kreativität_Schreiben 2019
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URI: https://cronfa.swan.ac.uk/Record/cronfa50830
first_indexed 2019-06-17T04:52:18Z
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He also practised as a translator from both French and Italian and contended that his writing in English was enriched in terms of form and style by exposure to other languages and their literatures. The article focuses on Time for a Tiger (1956), A Clockwork Orange (1962), ABBA ABBA (1977), and Earthly Powers (1980) to argue that Burgess&#x2019;s interest in translation and communication between speakers of different languages was far from programmatic. It was deployed to different ends in each novel, often for comic effect but also to explore existential and social concerns and to chart an attitude to difference and other human beings, benign in Time for a Tiger, malign in A Clockwork Orange. The article posits the notion of a &#x2018;language personality&#x2019; to account for these differences but concludes that ultimately the accent for Burgess lies on failure and that he finds different ways to depict the pit- and pratfalls in communication between speakers and writers of different languages. Anthony Burgess (1917-1993) utilizz&#xF2; le sue abilit&#xE0; in lingua straniera in una serie di romanzi che scrisse nel corso di una carriera durata quarant'anni e trascorsa per lo pi&#xF9; al di fuori del mondo anglofono, come in Malaya, a Malta, in Italia o a Monaco. Lavor&#xF2; inoltre come traduttore sia dal francese che dall&#x2018;italiano, affermando che la sua scrittura letteraria sia stata stilisticamente e formalmente arricchita dal contatto con altre lingue e con le relative letterature. Il presente articolo approfondisce principalmente Now A Tiger (1956), A Clockwork Orange (1962), ABBA ABBA (1977) e Earthly Powers (1980) per mostrare come l&#x2019;interesse di Burgess per la traduzione e la comunicazione tra parlanti di lingue diverse non fosse per nulla programmatico. Esso venne applicato in modo differente in ciascun romanzo, talvolta per creare un effetto divertente, ma anche per esplorare questioni esistenziali o sociali e per delineare un determinato atteggiamento nei confronti della differenza e degli altri, benigno in Now A Tiger, maligno in A Clockwork Orange. L'articolo sviluppa l'idea della "personalit&#xE0; della lingua" per spiegare tali differenze, ma conclude che per Burgess l'enfasi &#xE8; sul fallimento e che egli utilizza mezzi diversi per rappresentare le trappole nella comunicazione verbale e scritta.</abstract><type>Journal Article</type><journal>Polyphonie</journal><volume>6</volume><journalNumber>1</journalNumber><paginationStart>np</paginationStart><paginationEnd>np</paginationEnd><publisher>Polyphonie Mehrsprachigkeit_Kreativit&#xE4;t_Schreiben</publisher><issnElectronic>2304-7606</issnElectronic><keywords/><publishedDay>30</publishedDay><publishedMonth>6</publishedMonth><publishedYear>2019</publishedYear><publishedDate>2019-06-30</publishedDate><doi/><url>http://www.polyphonie.at/index.php?op=publicationplatform&amp;amp;sub=viewcontribution&amp;amp;contribution=185</url><notes/><college>COLLEGE NANME</college><department>Culture and Communications School</department><CollegeCode>COLLEGE CODE</CollegeCode><DepartmentCode>CACS</DepartmentCode><institution>Swansea University</institution><apcterm/><lastEdited>2019-10-10T15:34:33.8578469</lastEdited><Created>2019-06-16T21:41:06.8559345</Created><path><level id="1">Faculty of Humanities and Social Sciences</level><level id="2">School of Culture and Communication - Modern Languages, Translation, and Interpreting</level></path><authors><author><firstname>Julian</firstname><surname>Preece</surname><orcid>0000-0002-8887-740X</orcid><order>1</order></author></authors><documents><document><filename>50830__16325__70efacc6336b43f684ee2e7c476cea4c.pdf</filename><originalFilename>50830.pdf</originalFilename><uploaded>2020-01-16T11:29:39.5071997</uploaded><type>Output</type><contentLength>293617</contentLength><contentType>application/pdf</contentType><version>Version of Record</version><cronfaStatus>true</cronfaStatus><documentNotes>Released with the permission of the publisher.</documentNotes><copyrightCorrect>true</copyrightCorrect><language>eng</language></document></documents><OutputDurs/></rfc1807>
spelling 2019-10-10T15:34:33.8578469 v2 50830 2019-06-16 ‘Canaille, canaglia, Schweinhunderei’: Languages Personalities and Communication Failure in the Multilingual Fiction of Anthony Burgess 6cf10f340b4335c30856d022675b34b2 0000-0002-8887-740X Julian Preece Julian Preece true false 2019-06-16 CACS Anthony Burgess (1917-1993) drew on his knowledge of foreign languages in a range of novels throughout a literary career which spanned four decades, for most of which time he lived in non-English speaking countries, such as Malaya, Malta, Italy or Monaco. He also practised as a translator from both French and Italian and contended that his writing in English was enriched in terms of form and style by exposure to other languages and their literatures. The article focuses on Time for a Tiger (1956), A Clockwork Orange (1962), ABBA ABBA (1977), and Earthly Powers (1980) to argue that Burgess’s interest in translation and communication between speakers of different languages was far from programmatic. It was deployed to different ends in each novel, often for comic effect but also to explore existential and social concerns and to chart an attitude to difference and other human beings, benign in Time for a Tiger, malign in A Clockwork Orange. The article posits the notion of a ‘language personality’ to account for these differences but concludes that ultimately the accent for Burgess lies on failure and that he finds different ways to depict the pit- and pratfalls in communication between speakers and writers of different languages. Anthony Burgess (1917-1993) utilizzò le sue abilità in lingua straniera in una serie di romanzi che scrisse nel corso di una carriera durata quarant'anni e trascorsa per lo più al di fuori del mondo anglofono, come in Malaya, a Malta, in Italia o a Monaco. Lavorò inoltre come traduttore sia dal francese che dall‘italiano, affermando che la sua scrittura letteraria sia stata stilisticamente e formalmente arricchita dal contatto con altre lingue e con le relative letterature. Il presente articolo approfondisce principalmente Now A Tiger (1956), A Clockwork Orange (1962), ABBA ABBA (1977) e Earthly Powers (1980) per mostrare come l’interesse di Burgess per la traduzione e la comunicazione tra parlanti di lingue diverse non fosse per nulla programmatico. Esso venne applicato in modo differente in ciascun romanzo, talvolta per creare un effetto divertente, ma anche per esplorare questioni esistenziali o sociali e per delineare un determinato atteggiamento nei confronti della differenza e degli altri, benigno in Now A Tiger, maligno in A Clockwork Orange. L'articolo sviluppa l'idea della "personalità della lingua" per spiegare tali differenze, ma conclude che per Burgess l'enfasi è sul fallimento e che egli utilizza mezzi diversi per rappresentare le trappole nella comunicazione verbale e scritta. Journal Article Polyphonie 6 1 np np Polyphonie Mehrsprachigkeit_Kreativität_Schreiben 2304-7606 30 6 2019 2019-06-30 http://www.polyphonie.at/index.php?op=publicationplatform&amp;sub=viewcontribution&amp;contribution=185 COLLEGE NANME Culture and Communications School COLLEGE CODE CACS Swansea University 2019-10-10T15:34:33.8578469 2019-06-16T21:41:06.8559345 Faculty of Humanities and Social Sciences School of Culture and Communication - Modern Languages, Translation, and Interpreting Julian Preece 0000-0002-8887-740X 1 50830__16325__70efacc6336b43f684ee2e7c476cea4c.pdf 50830.pdf 2020-01-16T11:29:39.5071997 Output 293617 application/pdf Version of Record true Released with the permission of the publisher. true eng
title ‘Canaille, canaglia, Schweinhunderei’: Languages Personalities and Communication Failure in the Multilingual Fiction of Anthony Burgess
spellingShingle ‘Canaille, canaglia, Schweinhunderei’: Languages Personalities and Communication Failure in the Multilingual Fiction of Anthony Burgess
Julian Preece
title_short ‘Canaille, canaglia, Schweinhunderei’: Languages Personalities and Communication Failure in the Multilingual Fiction of Anthony Burgess
title_full ‘Canaille, canaglia, Schweinhunderei’: Languages Personalities and Communication Failure in the Multilingual Fiction of Anthony Burgess
title_fullStr ‘Canaille, canaglia, Schweinhunderei’: Languages Personalities and Communication Failure in the Multilingual Fiction of Anthony Burgess
title_full_unstemmed ‘Canaille, canaglia, Schweinhunderei’: Languages Personalities and Communication Failure in the Multilingual Fiction of Anthony Burgess
title_sort ‘Canaille, canaglia, Schweinhunderei’: Languages Personalities and Communication Failure in the Multilingual Fiction of Anthony Burgess
author_id_str_mv 6cf10f340b4335c30856d022675b34b2
author_id_fullname_str_mv 6cf10f340b4335c30856d022675b34b2_***_Julian Preece
author Julian Preece
author2 Julian Preece
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institution Swansea University
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college_str Faculty of Humanities and Social Sciences
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hierarchy_top_id facultyofhumanitiesandsocialsciences
hierarchy_top_title Faculty of Humanities and Social Sciences
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description Anthony Burgess (1917-1993) drew on his knowledge of foreign languages in a range of novels throughout a literary career which spanned four decades, for most of which time he lived in non-English speaking countries, such as Malaya, Malta, Italy or Monaco. He also practised as a translator from both French and Italian and contended that his writing in English was enriched in terms of form and style by exposure to other languages and their literatures. The article focuses on Time for a Tiger (1956), A Clockwork Orange (1962), ABBA ABBA (1977), and Earthly Powers (1980) to argue that Burgess’s interest in translation and communication between speakers of different languages was far from programmatic. It was deployed to different ends in each novel, often for comic effect but also to explore existential and social concerns and to chart an attitude to difference and other human beings, benign in Time for a Tiger, malign in A Clockwork Orange. The article posits the notion of a ‘language personality’ to account for these differences but concludes that ultimately the accent for Burgess lies on failure and that he finds different ways to depict the pit- and pratfalls in communication between speakers and writers of different languages. Anthony Burgess (1917-1993) utilizzò le sue abilità in lingua straniera in una serie di romanzi che scrisse nel corso di una carriera durata quarant'anni e trascorsa per lo più al di fuori del mondo anglofono, come in Malaya, a Malta, in Italia o a Monaco. Lavorò inoltre come traduttore sia dal francese che dall‘italiano, affermando che la sua scrittura letteraria sia stata stilisticamente e formalmente arricchita dal contatto con altre lingue e con le relative letterature. Il presente articolo approfondisce principalmente Now A Tiger (1956), A Clockwork Orange (1962), ABBA ABBA (1977) e Earthly Powers (1980) per mostrare come l’interesse di Burgess per la traduzione e la comunicazione tra parlanti di lingue diverse non fosse per nulla programmatico. Esso venne applicato in modo differente in ciascun romanzo, talvolta per creare un effetto divertente, ma anche per esplorare questioni esistenziali o sociali e per delineare un determinato atteggiamento nei confronti della differenza e degli altri, benigno in Now A Tiger, maligno in A Clockwork Orange. L'articolo sviluppa l'idea della "personalità della lingua" per spiegare tali differenze, ma conclude che per Burgess l'enfasi è sul fallimento e che egli utilizza mezzi diversi per rappresentare le trappole nella comunicazione verbale e scritta.
published_date 2019-06-30T07:45:47Z
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