Alan Roughley is Associate Professor of English at Liverpool Hope University and Director of the International Anthony Burgess Foundation
Inhaltsangabe
Foreword David Lodge Introduction Carson Bergstrom I Interpreting Burgess 1 Negativity and dialogical play in Nothing Like the Sun Nuria Belastegui 2 Human nature, sin and grace in The Wanting Seed J'annine Jobling 3 The End of the World News: 'the end of the book and the beginning of writing' Alan R. Roughley II Burgess and music 4 The postmodernist always swings nice Paul Schuyler Phillips 5 From Mann to modernity: Anthony Burgess and the intersection of music and literature Christine Lee Gengaro 6 Anthony Burgess: a choral composer Randall Hooper III Burgess and (the) other(s) 7 Anthony Burgess's fictional biographies: romantic sympathy, tradition-oriented modernism, postmodern vampirism? Aude Haffen 8 'Putting the boot in': A Clockwork Orange, post-'69 youth culture and the onset of late modernity Peter Hughes Jachimiak 9 Futures past: The End of the World News Anthony Levings 10 This, that and the other: Anthony Burgess inscribes his modernist differences in Little Wilson and Big God J. Riesthuis 11 Burgess, Joyce and Ford: modernity, sexuality and confession Max Saunders 12 Mr Burgess, Mr Nye, Mr Shakespeare and Mr Pickleherring: postmodernist representations of Shakespeare in Anthony Burgess and Robert Nye Rob Spence IV Burgess and language 13 From kampong to nation-state: Burgess on the Malay language and globalisation Anil Biltoo 14 Anthony Burgess and the loom of language Oswyn Murray 15 Lost in Babel: the search for the perfect language in Anthony Burgess's A Clockwork Orange Carla Sassi 16 Burgess/Kubrick/A Clockwork Orange (twenty-to-one) Beryl Schlossman Afterword Anthony Cronin
Foreword David Lodge Introduction Carson Bergstrom I Interpreting Burgess 1 Negativity and dialogical play in Nothing Like the Sun Nuria Belastegui 2 Human nature, sin and grace in The Wanting Seed J'annine Jobling 3 The End of the World News: 'the end of the book and the beginning of writing' Alan R. Roughley II Burgess and music 4 The postmodernist always swings nice Paul Schuyler Phillips 5 From Mann to modernity: Anthony Burgess and the intersection of music and literature Christine Lee Gengaro 6 Anthony Burgess: a choral composer Randall Hooper III Burgess and (the) other(s) 7 Anthony Burgess's fictional biographies: romantic sympathy, tradition-oriented modernism, postmodern vampirism? Aude Haffen 8 'Putting the boot in': A Clockwork Orange, post-'69 youth culture and the onset of late modernity Peter Hughes Jachimiak 9 Futures past: The End of the World News Anthony Levings 10 This, that and the other: Anthony Burgess inscribes his modernist differences in Little Wilson and Big God J. Riesthuis 11 Burgess, Joyce and Ford: modernity, sexuality and confession Max Saunders 12 Mr Burgess, Mr Nye, Mr Shakespeare and Mr Pickleherring: postmodernist representations of Shakespeare in Anthony Burgess and Robert Nye Rob Spence IV Burgess and language 13 From kampong to nation-state: Burgess on the Malay language and globalisation Anil Biltoo 14 Anthony Burgess and the loom of language Oswyn Murray 15 Lost in Babel: the search for the perfect language in Anthony Burgess's A Clockwork Orange Carla Sassi 16 Burgess/Kubrick/A Clockwork Orange (twenty-to-one) Beryl Schlossman Afterword Anthony Cronin
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