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I define fictional drugs as non-existent medicines, intended for human use, invented for the purposes of some forms of fiction, usually novels, but also plays or films, including TV dramas. In several cases the inventions could be interpreted as representing some form of wish fulfilment on the author’s part. Examples include: Moloko plus in A Clockwork Orange (1962) by Anthony Burgess; Can-D and Chew-Z in The Three Stigmata of Palmer Eldritch (1965) and Ubik in the novel of that name (1969), both by Philip K Dick; and boosterspice in Ringworld (1970) and other novels by Larry Niven. But be careful what you wish for—there may be adverse effects.

Sir Thomas More’s “libellus vere aureus,” his “golden little book,” Utopia, introduced a word for a fictional place that was supposedly perfect, although such fictional places had been written about for hundreds of years before his book appeared in 1516. The name “Utopia” was a pun, coming as it might from Greek words for either “no place” or “goodly place” (οὔ τόπος or εὐ τόπος), a pun that More himself explicitly pointed out. Later, the term “dystopia” was coined as an antonym, in contrast to “eutopia” rather than “outopia.” Then others suggested that “cacotopia” might be a better antonym. Later terms have included “agathotopia” and “kalotopia,” respectively a good place and a beautiful place. Which, I wonder, should be applied to the NHS of today?

This study responds to the call for more ecologically valid psycholinguistic research (Spivey & Cardon, 2015) by examining how readers incidentally acquire multifaceted vocabulary knowledge while reading a long, authentic text. Using eye tracking, we explore how the processing of unfamiliar words changes with repeated exposure and how the repeated exposure and processing affect word learning. In two sessions, native and non-native English speakers read five chapters of an authentic English novel containing Dari words. After reading, participants received a comprehension test and three surprise vocabulary tests. Growth curve modeling revealed a non-linear decrease in reading times that followed an S shaped curve. Number of exposures was the strongest predictor of vocabulary learning (form and meaning), while total reading time independently contributed to the learning of word meaning. Thus, both quantity and quality of lexical processing aid incremental vocabulary development and may reveal themselves differently in readers’ eye movement records.

IntroductionAnthony Burgess’ novel ‘Clockwork Orange’ identifies the topical debates surrounding the use of aversion therapy (or aversive conditioning) as an effective treatment for addictive behaviours. Widely popularised in literature as ‘Ludovico’s Technique’, Burgess attempts to credit the misunderstanding and dramatization of its effects when the main protagonist is released from a prison sentence after undergoing this treatment.ObjectivesWe aimed to highlight the depictions of aversion therapy in modern popular literature.MethodsA narrative review of the current literature concerning aversion therapy and Anthony Burgess’s novel ‘A Clockwork Orange’ was conducted. Emphasis on the misinterpretation of aversive therapies was noted.ResultsSince the introduction of pharmacological alternatives and additional forms of psychological therapies, there has been a decline in the use of aversion therapy in recent decades. However, it is still effective when conceding the conditioning process. Likewise, its predecessor’ visual imagery’ is believed to be a more acceptable and effective form.ConclusionsThe depiction of aversion therapy in literature and media has played a role in shaping societal views on aversive conditioning techniques and the degree to which they are deemed acceptable forms of treatment. The “Ludovico Technique” featured in the novel ‘A Clockwork Orange’ and its film adaptation is arguably the most salient depiction of aversion therapy in popular culture.DisclosureNo significant relationships.

The present study brings together methods of extensive reading studies and eye-movement research to track the cognitive effects of exposure frequency on vocabulary processing and learning. Forty-two advanced second language learners of English read a stage 1 graded reader, Goodbye Mr. Hollywood , on a computer screen while their eye movements were recorded. The eye-tracking task was followed by comprehension questions and vocabulary posttests. Target vocabulary consisted of 20 pseudo words and 20 known words with a range of repetition from 1 to 30. Eye-movement data showed that readers spent more time on pseudo words than on familiar words and that fixation times decreased across encounters with more attention given to target words on early encounters. Repeated exposure supported form recognition but was not as significant for meaning recall and recognition. Total times spent on each encounter was positively associated with learning success in all vocabulary measures. The amount of attention, as reflected in total reading times on each pseudo word, positively predicted learning outcomes above and beyond the number of encounters. Results of the study add a cognitive dimension to the concept of engagement in lexical learning in the process of incidental learning from second language reading.

\"Master of linguistics: the example of the applied linguist\". The article investigates a figure who is not a professional linguist but can represent their qualities. The study deals with the personality of Anthony Burgess (Manchester, 1917 - London, 1993). Burgess studied philology and taught English for two decades. For a vital turn, he decided to devote himself exclusively to literature and cultural criticism. Burgess conceived language as a source of beauty and moral and creative ideas. This writer published two manuals on applied linguistics: Language Made Plaine (1964) and A Mouthful of Air (1992). Burgess gave explanation of his thoughts and experiences in the autobiographical stories: Little Wilson and Big God (1986) and You've Had Your Time (1990). The comment of an example of a linguist, as with Anthony Burgess, can afford analyze salient features of contemporary linguistics.

Literature is the oldest way of an art form which persisted from the beginning of culture. The language of fiction is the most poignant and enriched one, with the use of a wide range of figurative speech and metaphorical expressions. One of the most notable of these linguistic expressions is metaphors. The study of metaphors in the English language has long intrigued linguists, literary critics, and translators around the globe. Particularly, using metaphors within literary works poses unique challenges and opportunities in translation studies. The literary works by renowned British authors such as James Joyce, William Shakespeare, and Anthony Burgess present rich and multi-level metaphorical expressions. Among these works, “A Clockwork Orange” displays as a striking example of rich in layered metaphors and linguistic expressions, particularly including an invented argot that combines Russian loanwords, Romanian, English slangs, neologisms and rhyming words, – Nadsat. These features of the novel poses significant challenges considering its translation into Azerbaijani, demanding the translator to navigate both linguistic and cultural aspects of the literary work.

This paper attempts to study Anthony Burgess’ A Clockwork Orange (1962) and its portrayal of a crisis-ridden dystopian society wherein individuals struggle to hold onto a fixed foundation of knowledge. The paper investigates the human condition, and how the novel posits the notional failure of perfectibility. A Clockwork Orange showcases a wasted youth culture bolstered by a decadent society. It envisions a dark near future society where young boys are seen engaging in acts of unthinkable violence, sexual perversion and substance abuse. The paper delineates on the treatment of the juvenile delinquents and their subsequent fate within a police state. Alex, the protagonist, represents an adolescent community on the verge of disillusionment and decay. Given the severity of the crimes committed by Alex, the government officials imprison him and inflict a reformative conditioning technique to purge him of his desire to commit crime and eventually rob him of his agency. Alex is reduced to a pawn in the hands of the state and is made to suffer immeasurably. The dystopian state functions as a system of transforming the subjects; and in the process rendering them docile. Drawing from the conceptions of prison, surveillance and disciplining mechanism put forth by Foucault, the paper questions the corrective measures of the prison and how the state becomes complicit in the heinous crimes committed by the delinquents. Alex becomes a passive spectator to the evils inflicted upon him by the harbingers of justice. Despite the uncertainty and the gloom, Alex keeps questing for meanings, harbouring a hope for a better future. Keywords: Dystopia, state, prison, surveillance, selfhood

The general conceit of Schiller’s aesthetic education is that our experiences with art and beauty set us free from internal and external constraints and allow us to embrace our full humanity as rational and sensuous beings. Experiencing the aesthetic, or the play impulse, puts one in a state of aesthetic determinacy—or rather indeterminacy—that Schiller calls the highest sense of freedom, aesthetic freedom. Gail K. Hart examines Anthony Burgess’s A Clockwork Orange as an example of what Schillerian aesthetic education might look like in practice. Though it represents a distortion of Schiller’s aesthetic education, Hart argues that it also reveals an ineradicable element of coercion in aesthetic education. I argue that Burgess’s Ludovico Technique leaves out a key element of Schiller’s conception of aesthetic cultivation—play—and that Hart’s analysis of Schiller’s work likewise lacks a robust analysis of his notion of play. I argue that, when Schiller’s account of the play impulse is taken seriously as a necessary condition for aesthetic cultivation to take place, coercion is by definition made impossible. Aesthetic play is accomplished by the mutual destruction of physical and moral determinations, and this mutual erasure leads to a higher and more expansive freedom. External constraints and coercion cannot induce the aesthetic state, so aesthetic education as Schiller presents it in On the Aesthetic Education of Man cannot contain the element of coercion Hart suspects.

The present article aims to analyze the themes of Anthony Burgess’s “The Right to an Answer” using Homi Bhabha’s concepts of “hybridity” and “third space.” Bhabha’s theory relies on the analysis of the dichotomy of the “self” and “other” and highlights the “mixedness” of cultures and the nature of the relationship between the colonizers and the immigrants from colonized countries. In “The Right to an Answer” Burgess provides an example of a hybrid through the character of Mr. Raj. Bhabha’s concept as a theoretical framework enables the reader to cultivate a better understanding of the main characters that are hybrids. The novel provides the reader with the opportunity to realize the identity crisis that the major characters have and to attribute that crisis to the aftermaths of colonization. The study shows that the hybrid character in the novel is a colonized British subject whose hybridity is a result of the interaction in a prescribed “third space” and whose hybrid identity ultimately results in abandonment.