Literature

The question of whether or not art is essentially a representation of reality has long been a bone of contention among philosophers of art – especially in the major branch of that discipline called the analytic philosophy of art, or analytic aesthetics. This paper argues that art - visual art, literature or music - is never essentially representation. The argument is based on the thinking of André Malraux in "The Voices of Silence".

Lisa Zunshine stayed at Hotel Laxmi Park at Bishnupur, I do not know whether that hotel exists now or not. I sparred with Rukmani Bhaya Nair at an international literary meet at Dehradun in 2017 and I have that video. In this hurriedly written essay for an FDP conducted by a Central University in India in collaboration with a College in New Delhi, I point out the need to distinguish between philosophy and darśana while accessing the corpus of Raja Rao. (...) Zunshine in her work on literature and cognitive studies and, Bhaya Nair in her mimetic mode disregards Eastern hermeneutics to read all Indian authors in English. This essay which is not proofread, nor intended for publication shows the sorry state of Indian letters in English today. Indian scholars of Indian literatures in English do not refer to Indian thinkers but rush into aping their Western dole-givers. Therefore, I turn to Arif Dirlik's work on Third world scholars in the First world and make a case for rethinking the methodologies in approaching Indian letters in English. This author hopes that others in the future will not simply quote Plato to understand Raja Rao. (And, he was awarded an A+ for this work.) Both Zunshine and Nair effect an elision of everything Indic from world and Indian letters respectively. (shrink)

The value of this essay is not to reiterate the extant views on horror literature, but to make available for the first time to the world at large the textual foundations of considering horror literature as a genre by itself. The Gothic is a different genre altogether though most of us want to conflate and confuse between these two genres. Someday I shall write at length about the nature of the horrific. Suffice to say for now that the focus is (...) that long ago, H. P. Lovecraft in his essay mentioned within this essay distinguished between the gothic as a literary genre and horror literature as another literary genre. And Lovecraft showed us that the horror as a literary genre is by far the greater of the two genres. This essay does not get into the literary values of either the gothic or the horror novel. That has been treated in a fuller manner by this author in his PhD thesis. (shrink)

I believe that as a teacher I must provide high quality content for my students. And all these should be available for free online so that bright students globally can choose which editions of a seminal text they can study. In every UG, PG examination, one is asked about the importance of the title of Shaw's play. In this paper I have illustrated by my own reading how one should and can approach the play. For scholars, my annotations referring to (...) John of Patmos may be interesting. I have deposited this paper here since I have shown the deep multiple philosophical mooring which Shaw affords but often even a discerning reader misses. (shrink)

This is made open access for students worldwide. The bulleted points deal with Fowles' engagement with Victorian morals. This draft which will not be published shows how this novel is not a historical novel, though it portrays historical facts. This is for self-study during this ongoing COVID 19 pandemic. Students are advised to follow the hyperlinks embedded within the body of the text. This is a non-plagiarised paper to serve the needs of intermediate students.

This reflection on the Petrine Ministry is being made freely available to students during this ongoing pandemic of COVID 19. This very brief essay seeks to understand the meaning of the title of the eponymous novel by Graham Greene.

-/- Letter to a friend : Creative Thinking and Intuition Letter to a friend about creative thinking and intuition (art, writing, philosophy, science, etc ) .

Aristotle's Poetics has been the basis for theories of entertainment for over 2,000 years. But the general approach it uses has led to a number of gaps, contradictions, and difficulties in predicting the success of books, plays, movies, and entertainment as a whole, so much so that sayings like "there are no rules, but you break them at your peril," and "in Hollywood, nobody knows anything" have become widespread and accepted. -/- However, it turns out that a model of entertainment (...) that defines literary conventions by the pleasurable feelings they release in the brain, and then equates them with outside experiences that people subconsciously attach to the literary work, in the same way that we can be conditioned to feel love when we view our wedding rings, can actually resolve almost every seeming contradiction in Aristotle's ideas and traditional theories of storytelling when compared to real-world results. -/- Furthermore, this approach can be extended to the other major forms of art, including painting, music and even video games, leading to a "Non-Aristotelian" theory that modifies the fundamental aspects of each of these fields, but in a natural and necessary way, which strengthens both our understanding and our ability to predict the success or failure of art in the future. -/- My work as a vlogger and writer, mostly done via my Youtube channel "StoryBrain," has been viewed over 6 million times, and written about in MovieMaker magazine, Creative Screenwriting magazine, on the front page of major sites like Reddit, Roger Ebert online, and in international newspapers like the Sydney Morning-Herald in Australia and Fotogramas in Spain. My work is also the subject of a chapter of the currently-in-release book "Neuro-Design," by Kogan Page publishing, called "The Neuro Movie Analyst." This paper is a detailed introduction to the theory of Emotional Indiscretion which I have talked about in my work. (shrink)

This paper takes the Status Loss Theory (introduced and explained in the first "How Humor Works" paper), and applies it to 40 real-world examples, including memes, radio and TV shows, movie and comic book tropes, song parodies, humor sayings, stand-up comedy cliches, known psychological quirks of humor, and more, to demonstrate the theory's potential to function as the first clear, complete, logical, and simple basis for defining, studying, and understanding humor in all of its forms.

This collection of poetry named The Book of Lips, which is in Persian and some in Arabic, is a small subset of the complete set of my quatrain poems and it includes poetry about the lips and kiss of the loved one. In the future, I will publish my complete set of quatrain poems in a separate book or within my collection of all poems. One can have two different perspectives toward this collection. The first perspective is the mystical point (...) of view which considers the loved one, the lips, and the kiss as God, metaphor for His grace, and moving toward Him, respectively. The second point of view is a romantic one in which the loved one, the lips, and the kiss are a beautiful girl, her lips, and kissing her, respectively. Furthermore, one can read this collection of poetry having both perspectives in mind. (shrink)

This article shows that underlying the Museyroom passage of James Joyce's Finnegans Wake is an account of the Battle of the Little Bighorn. Joyce's passage touches on what motivated the battle, its Irish participants, its commanders, Custer's disagreements with his Crow scouts, Sitting Bull's prediction of Custer's failure, Custer's (purely fanciful) joking reply to Sitting Bull's prediction, Custer's home near Bismarck, ND, and his signature song. Other passages scattered throughout Finnegans Wake treat of casualties, a straggler, Custer's trumpeter, Custer's from-the-grave (...) denunciations of his subordinates, and the burial of the dead. The famous "Three quarks for Muster Mark!" passage describes the desolation of Last Stand Hill. And Joyce's famous final paragraph contains an account of the legend of the narrow escape of Custer's Crow scout Ashishishe, who, at the battle's close, hides in the carcass of a horse before making his escape downriver. A brief look at Joyce's choice of names closes out the article. (shrink)

In a first investigation, a Lacan-motivated template of the Poe story is fitted to the data. A segmentation of the storyline is used in order to map out the diachrony. Based on this, it will be shown how synchronous aspects, potentially related to Lacanian registers, can be sought. This demonstrates the effectiveness of an approach based on a model template of the storyline narrative. In a second and more Comprehensive investigation, we develop an approach for revealing, that is, uncovering, Lacanian (...) register relationships. Objectives of this work include the wide and general application of our methodology. This methodology is strongly based on the “letting the data speak” Correspondence Analysis analytics Platform of Jean-Paul Benzécri, that is also the geometric data analysis, both qualitative and quantitative analytics, developed by Pierre Bourdieu. (shrink)

There is a famous and important dictum reminiscent of the medieval age posited by Carl Jung in Alchemical Studies, the thirteenth volume of his collected works: in sterquiliniis invenitur—in filth it shall be found (35). Translated for modern society this might be better understood as “that which is most valuable will be found in the place you least want to look.” If there is one source in the corpus of popular culture that best typifies “the last place we would want (...) to look” for masculine values, it would be Mads Mikkelsen’s portrayal of Hannibal Lector, particularly Lector’s relationship with FBI profiler Will Graham during the first two seasons of the HBO series Hannibal. By stripping away the perverse horror of Lector’s actions toward Graham, and treating their relationship as an absolute value, I systematically explore the series’ portrayal of masculine nurturing in a way that reveals potentially praiseworthy facets relevant to modern masculinity. (shrink)

In the literature on toleration, epistemic arguments are commonly equated with John Stuart Mill's fallibilism according to which toleration of opinions is a necessary means to the attainment of truth. This conflation does not capture the variety of those arguments and it results from the fact that a proper analysis of epistemic arguments for religious toleration and a systematic account of their different types are still lacking. The purpose of this article is to provide such an analysis and to argue (...) that those arguments come in four different types, which I name fallibilism, religious belief-forming process, epistemic parity, and differentiated access to religious truth or divine message. I also offer a mapping of those different types of arguments using the standard epistemic notions of justification, truth, and belief coupled with a distinction of focus in the epistemological approach – whether individually or socially focused. (shrink)

In the wake of modernism studies' global turn, this article considers the role of translation in fostering Iranian modernism. Focusing on the poetic translations of Bijan Elahi (1945-2010), one of Iran's most significant poet-translators, we demonstrate how untranslatability becomes a point of departure for his experimental poetics. Elahi used premodern Sufi hermeneutics to develop his modernist theory of translation, whereby the alien core of the text is recognised at the centre of the original. As he engages the translated text from (...) many angles, Elahi confounds polarities between innovation and imitation, and authorship and translation, that continue to bifurcate translation studies. In contributing to the globalization of modernist studies, this work adds to our understanding of modernism's entanglement within premodern concepts of creation, as well as to modernism's recreation of tradition from a non-European periphery. (shrink)

Although personal relevance is key to sustaining an audience’s interest in any given narrative, it has received little systematic attention in scholarship to date. Across centuries and media, adaptations have been used extensively to bring temporally or geographically distant narratives “closer” to the recipient under the assumption that their impact will increase. In this review article, we review experimental and other empirical evidence on narrative processing in order to unravel which types of personal relevance are more likely to be impactful (...) than others, which types of impact (e.g. aesthetic, therapeutic, persuasive) they have been found to generate, and where their power may become excessive or outright detrimental to reader experience. (shrink)

Covering the formerly British colonial space, Hong Kong’s parks, gardens, and urban plants constitute hybrid transit zones, where local, colonial, and transnational horticultural legacies intersect. Drawing from material ecology, plant philosophy, and theories of sense perception, I will examine how these entities reclaim a realm of aesthetic agency in Leung Ping-kwan’s poetry. I argue that the poet’s lyrical dialogues with plants unfold within lingering memories of spiritual, emotional, and sensual landscapes from the past, thus delineating a utopian space where cosmopolitan (...) values and the principle of trans-species conviviality configure visionary politics of a future cityscape. In this way, the poems disrupt the ideology of mastering nature and momentarily overcome the political, cultural, and material mutilation of non-human “others.” Positioned as messengers of an unjustly and more and more forbiddingly partitioned reality, Leung’s vegetal interlocutors gently suggest a different approach towards life on earth and in urban environments while simultaneously addressing critical issues concerning history, community, and postcolonial worlds. (shrink)

William Blake’s prophetic works seem to present the reader with a puzzling contradiction. On the one hand Blake can be read as a prophet of sexual revolution with his attacks on puritanism and hypocritical chastity. On the other hand, in many passages he seems to express characteristically Platonic/Patristic skepticism concerning bodily experience. What is more he often portrays sexuality and indeed femininity as manipulative and cruel. Is there a coherent attitude to sexuality in Blake? This paper argues that Blake’s soteriology (...) strongly implies that the ‘return’ to unity with the divine pivots on the incarnation which Blake even insists is the product of natural sexuality. To this extent there is a place for the sexualized body in the economy of salvation. This economy links Blake to a larger Platonist and Christian Platonist tradition that understands salvation in terms of an exitus/reditus pattern. (shrink)

La letteratura e la tragedia tra mito e filosofia.

Poesia come cammino verso la casa che non c'è, perché è sempre con noi.

“These brilliantly crafted poems inhabit a rich space where experience, psyche, myth, and the gem of language intersect. Raymond Barfield invites us to the soulful journey C. G. Jung imagined when he wrote, Everything living strives for wholeness. In reading Dreams And Griefs Of An Underworld Aeronaut we travel beside this poet mindfully searching and pointing beyond by way of his art, grief, faith, and love.” —Rachel Blum -/- “Raymond Barfield writes that he just needs ‘room, air, and the unknown,’ (...) but his collection gives us this, and far more. These poems pulse in their textured, sensual language, creating a world chromatic and incantatory, brooding with ‘puppets, shadows and tales,’ tangible and elusive at the same time. These poems draw us in and give us breath.” —Brian Swann -/- “Raymond Barfield circles us through hell in a hot air balloon that doubles as an Italian bagpipe blowing through ecstatic nights of betrayal’s rave.The poet is back to escort us through a nightmare path in chocked terza rima sonnets while a mad dog howls at the moon and a gargoyle croons in the background. Barfield gnaws his pen into flame on the darkness of the white page to perform transfusions that translate hymns of Ars Signorum into your mind. These poems take you there. It is up to you to come back.” —Kevin Gallagher -/- “In this wonderful book, Raymond Barfield draws inspiration from the narrative terza rima of Dante and from the compressions and turns of the sonnet form to compress his meditations on life, pain, love, and death into 15-line poems that amaze with their range of feelings and their turns of language. The emotional depths and verbal surprises pull the reader forward through Barfield’s fascinating layers of worlds and underworlds.” —John Bensko. (shrink)

La rivolta contro le poetiche della tradizione, alla ricerca di nuove forme poetiche.

Why is there a long-standing debate about paraphrase in poetry? Everyone agrees that paraphrase can be useful; everyone agrees that paraphrase is no substitute for the poem itself. What is there to disagree about? Perhaps this: whether paraphrase can specify everything that counts as a contribution to the meaning of a poem. There are, we say, two ways to take the question; on one way of taking it, the answer is that paraphrase cannot. Does this entail that there is meaning (...) mysteriously locked in a poem, meaning that cannot be represented in any way other than via the poem itself? If that were so it would have profound implications for poetry’s capacity to convey insight. We suggest reasons for thinking that the entailment does not hold. Throughout, we connect the traditional debate over paraphrase, which has largely been conducted within the fields of philosophy and literary theory, with recent empirically oriented thinking about the communicability of meaning, represented by work in pragmatics. We end with a suggestion about what is to count as belonging to meaning, and what as merely among the things that determine meaning. (shrink)

RESENHA: WERNECK, Mariza. O livro das noites: memória – escritura – melancolia. São Paulo: EDUC, 2020, 178p.

Este ensaio pretende tatear uma hipótese relacional entre dois elementos heterogêneos: a obra de Christopher Isherwood e o poema elegíaco. Para tal, tomar-se-ão duas obras de Isherwood –“Christopher and His Kind” (1976) e “The Berlin Stories” (1945) –e a peculiar interpretação de Paul Veyne acerca do modo de escrita elegíaca. O que se defenderá, então, é que ao se construir a personagem de Sally Bowles, Isherwood descola o ente extra-textual (Jean Ross), assim como faz consigo mesmo quando escreve sobre si. (...) Como percurso para tal interpretação, este texto se divide em três partes: a primeira fará uma retomada biográfica de Christopher Isherwood, a segunda uma apresentação das duas personificações supracitadas, e a terceira uma explicação a partir do caráter elegíaco, tal como visto por Paul Veyne. (shrink)

Este artigo propõe pensar o método arqueológico de Michel Foucault, exposto em “As Palavras e as Coisas” e em “Arqueologia do Saber”, e como este se catalisa a partir da obra de Borges, relacionando-se intimamente com a Literatura. Para tal, analisar-se-á, primeiramente, algumas marcas epistemológicas e metodológicas de Foucault, tais com o estruturalismo e a hermenêutica, para, então, se retomar as passagens de Borges na obra do filósofo e se estabelecer as possíveis reverberações e impactos do autor argentino no método (...) arqueológico –marcando-se, assim, a importância dos operadores estético-literários no pensamento de Michel Foucault. (shrink)

This article aims to grope how Paul Veyne's thought operates from his interlocutors. For this, seeking to clarify the “methodological” issues of his historiographic making and his aesthetic bases, a series of relations will be introduced between the mentioned author and Nietzsche, Deleuze, Foucault, and Borges. Starting from Nietzsche, in the first part, entitled “Veyne and the relational methodology”, it will be justified how it is possible to make a historiographical theory that merges philosophy and anthropology in its constitution. In (...) the second half, called “Mental categories of relational mediation in Veyne”, the possible aesthetic bases that operate within Veynian thought will be presented –for this purpose, mainly studies on the Baroque will be used. (shrink)

Bringing together literary scholars, computer scientists, ethicists, philosophers of mind, and scholars from affiliated disciplines, this collection of essays offers important and timely insights into the pasts, presents, and, above all, possible futures of Artificial Intelligence. This book covers topics such as ethics and morality, identity and selfhood, and broader issues about AI, addressing questions about the individual, social, and existential impacts of such technologies. Through the works of science fiction authors such as Isaac Asimov, Stanislaw Lem, Ann Leckie, Iain (...) M. Banks, and Martha Wells, alongside key visual productions such as Ex Machina, Westworld, and Her, contributions illustrate how science fiction might inform potential futures as well as acting as a springboard to bring disciplinary knowledge to bear on significant developments of Artificial Intelligence. Addressing a broad, interdisciplinary audience, both expert and non-expert readers gain an in-depth understanding of the wide range of pressing issues to which Artificial Intelligence gives rise, and the ways in which science fiction narratives have been used to represent them. Using science fiction in this manner enables readers to see how even fictional worlds and imagined futures have very real impacts on how we understand these technologies. As such, readers are introduced to theoretical positions on Artificial Intelligence through fictional works as well as encouraged to reflect on the diverse aspects of Artificial Intelligence through its many philosophical, social, legal, scientific, and cultural ramifications. (shrink)

In a recent online lecture, the acclaimed novelist Amit Chaudhuri responded to an accusation that has greeted his fiction since the start of his literary career: that since, as he openly admits, his novels contain people and events that are drawn from his own life, they are better thought of as thinly disguised memoirs—as not really novels at all. In this paper, I discuss this charge by drawing on an account by the philosopher Stephen Mulhall of the work of another (...) distinguished novelist—J.M. Coetzee (more specifically, that work which features the character Elizabeth Costello). In particular, I want to establish the pertinence to Chaudhuri’s lecture of Mulhall’s analogy between aspects of that work and the work of the influential art historian and critic Michael Fried on the history of modernist painting. In so doing, I aim to show that the commitment to the projects of literary modernism and realism which Mulhall sees in Coetzee (and Costello), can also be seen in Chaudhuri’s understanding of the sense in which his novels both are, and are not, autobiographical. (shrink)

Este artículo incluye el concepto de hermenéutica para hacer referencia a los estudios críticos efectuados sobre La ciudad y los perros de Mario Vargas Llosa. Para ello, me baso en la propuesta comprendida por Hans-Georg Gadamer en su libro Verdad y método. Para esta ocasión, este enfoque pormenoriza las variantes que configuran la identidad de los protagonistas (el Jaguar, el Poeta y el Esclavo); principalmente, cuando la violencia es un elemento indispensable para definirlos. La exégesis expuesta en este trabajo considera (...) tres planteamientos a partir de la novela: la constitución individualizada, pesimista y condicionada a los postulados del estado de la cuestión. En ese sentido, la intención de esta investigación es sistematizar esta obra literaria mediante los componentes propicios para la consolidación de esta epistemología filosófica de reconstrucción e incorporación de fundamentos de la crítica literaria que explican y contrastan el objeto de análisis. (shrink)

Este es un relato breve de ficción literaria.

Este artículo realiza un análisis de los poemas de Luis Cernuda y Federico García Lorca que pertenecen a la generación del 27, un grupo de escritores españoles que surgió a inicios del siglo XX, que se distingue por la inmediata accesibilidad que suscitan para los lectores de su época, ya que adaptaron adecuadamente la poética del modernismo literario, que se opuso al determinismo y el estructuralismo estáticos del lenguaje como expresión. El propósito de este estudio es percibir las variantes, producto (...) de la contrastación de categorías, que se patentizan a partir de la extracción de los tópicos propios de los versos, para después corroborar con los paradigmas inmanentes del surrealismo, que están expuestos en los manifiestos de André Bretón, junto con la cosmovisión que adoptan Octavio Paz y Paul Illie. (shrink)

Esta es una entrevista realizada al escritor peruano Cronwell Jara en el 2009.

El poemario Trilce (1922), caracterizado por su vanguardismo, innovó por medio de transgresiones de lo tradicional, propicias por significaciones irracionales y formalismos poco comunes. Desde allí, la literatura se ha desarrollado exponencialmente y la exégesis literaria ha obtenido propuestas teóricas que garantizan la calidad de sus interpretaciones discursivas. Al respecto, he efectuado una clasificación bibliográfica de los temas frecuentes del estado de la cuestión. Opto por el análisis semántico, junto con la hermenéutica y la teoría consolidadas en el texto. El (...) propósito de este artículo es corroborar los diversos postulados en torno a esta obra literaria, para la construcción de vertientes temáticas que permitan configurar la cosmovisión del poeta. (shrink)

In order to revise interpretive prejudgments, it is important to first recognize them for what they are. Problematically, the habitual overreliance on deficient prejudgments can make such recognition difficult. An impasse appears: How can one intervene on deficient interpretive resources if those very same resources conceal their deficiencies? I analyze James Joyce’s short story “The Dead,” in which the protagonist Gabriel is highly resistant to internalizing experiences that might otherwise prompt him to revise his interpretive projections. I argue that Gabriel (...) only becomes aware of his interpretive shortcomings after an experience of profound hesitation that allows him to affectively sense the limitations of his prejudice. Drawing from Hans-Georg Gadamer, Kristie Dotson, and Alia Al-Saji, I argue that Gabriel’s experience of hesitation temporarily denaturalizes his deeply entrenched sexism, circumventing the hermeneutical impasse described above. Read in this way, “The Dead” illustrates the power of affective experiences to unsettle highly resilient ways of seeing the world. (shrink)

This essay aims to contribute comparative points of contact between two influential figures of nineteenth century aesthetic reflection; namely, Victor Hugo’s artful considerations on architecture in his novel Notre-Dame de Paris and G.W.F. Hegel’s philosophical appraisal of the artform in his Lectures on Fine Art. Although their individual views on architecture are widely recognized, there is scant comparative commentary on these two thinkers, which seems odd because of the relative convergence of their historically situated observations. Owing to this shortage, I (...) note that, while certainly not identical, Hugo and Hegel share an aesthetic family resemblance in how they hold similar ideas on architecture’s symbolic function, cognitive content, and, ultimately, how the artform’s ability to remain a standing paragon of meaning was razed by successive modes of cultural communication. Consequently, the essay works to show some congruent aesthetic affinities between these two great figures, but which appears to be overlooked in the literature. (shrink)

Images of jumpers represent an emotionally charged symbol of 9/11, yet just after 9/11 their circulation was quickly and dramatically censored. Yet twenty years later, the 9/11 archive continues to be curated in this way. As the 9/11 archive particularly supports the justification of many military tactics and international interventions, it becomes important to look at what has been excluded and why, including photographs and video. This paper will turn to representations of jumpers in three forms – in photography, in (...) literature, and in film. It will address Richard Drew’s famous ‘Falling Man’ photo, literary representations of the photo in Don DeLillo’s novel Falling Man, and film of jumpers in Alejandro González Iñárritu’s short film from the collection 11ʹ09”01: September 11th. This article thinks through how narratives surrounding jumpers serve to maintain governmental support for international intervention, while very few representations seek to propel another story. (shrink)

This article develops a theory of border subjectivity that considers the cybernetic role of narrative structures and mediation in political advocacy aimed at dreamers and DACA recipients. "Cybersujetos” are border subjects who are racialized by cybernetic systems and media narratives, but can resist control by repurposing cultural technologies. In assessing the limitations of journalism, literature, and film as outlets for political advocacy, this article finds that remediated representations of undocumented youth that attempt to expand their political agency can further alienate (...) them. Outdated stereotypes in representation are substituted with a proliferation of diverse but still racialized figures meant to demarcate "exceptional" candidates for naturalization, thus failing to challenge the normative parameters of citizenship itself and the militarized position of the US on the global stage. (shrink)

This essay explores the philosophical significance of Anthony Burgess’s 1960s novel "A Clockwork Orange." Specific themes in this novel are developed through character and situation, in a way which takes cognisance of important problems in the history of philosophy. The essay looks at two particular themes in this context. The first relates to the epistemological question of the distinction between truth and illusion. The novel thematizes the demarcation between truth and illusion, or truth and appearance, and raises the issue of (...) whether we can have a knowledge or epistemological foundation for such a distinction. Second, the novel addresses a question at the heart of ethics, that is, the issue of whether there is a clear distinction between good and evil. Moreover, it develops this question in relation to the further issue of the explanation for the seeming attractiveness of evil, if good is an acknowledged superior value. In the novel these questions are addressed especially through the main character of Alex, whose incarceration and rehabilitation treatment by psychiatry comes centre stage. Additionally, the text itself is adapted for film by Stanley Kubrick in 1971 and the essay explores how Kubrick’s interpretation of the original novel is distinct from that of Burgess (this difference being added to by the medium of film). Kubrick’s different interpretation nonetheless builds on the original novel and thus brings new insights in terms of the reading of the primary themes, while also complexifying the hermeneutics. (shrink)