Nadsat
| Nadsat | ||
|---|---|---|
| Project author | Anthony Burgess | |
| Year of publication | 1962 | |
| Linguistic classification |
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| Language codes | ||
| ISO 639 -1 |
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| ISO 639 -2 |
art (other constructed languages) |
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Nadsat is a fictional jargon among young people from Anthony Burgess' novel A Clockwork Orange and belongs to the group of constructed languages .
description
The word "Nadsat" itself is based on the Russian suffix of the numbers from 11 to 19 ("-надцать"), which corresponds to the English -teen , which in turn is the same as the English word for "youth".
In Burgess' original, Nadsat is a twisted mixture of Russian vocabulary with London's Cockney Rhyming slang . There are also terms from the English gypsy language ( Gypsy Slang ) and elements of children's language . Nadsat was first translated into German by Walter Brumm and copied from the original by using German words. This resulted in multi-lingual hybrid words that combine components of several languages in their morpheme structure .
The focus of Nadsat lies in the lexical area, i.e. in the creation of words. Many of the expressions are puns. The similarity of sound with the Russian "golowa" ("голова") led to the Nadsat word Gulliver for "head". The syntax at Burgess usually corresponds to the English one, even if there are occasional noticeable word orders. Nadsat has all the typical characteristics of youth slang : the use of loan words in foreign languages, “their phonetic and morphematic adaptation” and an affective application, especially for taboo subjects. The influences of children's language are expressed in onomatopoeic word formations and reduplicating expressions such as Eggiweg ("egg"), Skolliwoll ("school"), rizrazzen ("tear open") and lubbilubben ("love"). Abstract terms are largely absent in Nadsat, as is political vocabulary (with the exception of upper-class Goloss and government gazetta ).
Function of nadsat
The reasons why Burgess created an artificial youth slang for his novel were pragmatic. Alex and his friends were supposed to converse in age-specific jargon that, because the story was set in the near future, had to be timeless. Therefore the adoption of existing contemporary youth languages was prohibited. Furthermore, the use of strange and harsh-sounding vocabulary and the artificiality of the expressions should create a distance from the violent framework in which they are used. Burgess described it this way:
“Because there was a lot of violence in the manuscript that simmered in my drawer and even more in the finished work, the strange new gibberish was meant to serve as a kind of fog that half hides the violence and protects the reader from their own base instincts. And it was a fine irony to imagine a teenage group untouched by politics, using totalitarian brutality as an end in itself, endowed with a dialect based on the two main political languages of the time. "
Adoption into youth culture
In particular, due to the popularity of Stanley Kubrick's film adaptation under the title Uhrwerk Orange , there was a fashion wave in the 1970s that Nadsat words were adopted into the language of young people, some of which are still in use today, for example, ultra-brutal , the consent formula Righty right and madschocken for "beating up".
Nadsat is also used in the music scene. The US punk band Lower Class Brats uses appropriate themes and vocabulary in their lyrics. Die Toten Hosen deal with the topic on their concept album A Little Bit of Horror Show , which is based on their stage music for the Bonn-based Clockwork production by Bernd Schadewald . Horrorschau (Nadsat for "good") is a play on words with the Russian "charascho" (good "хорошо"). Nadsat names are used by the English band Moloko (after the Russian word for milk “молоко”) and the German crossover group The Droogs (Nadsat for “friends”, from the Russian drug “Друг”).
The international soccer ultra scene also uses Nadsat. A well-known Ultrà group of the Italian soccer club Juventus Turin is called "Drughi Bianconeri" ("Black and White Droogs"). In Germany Droogs u. a. Part of the name of an Ultrà group of Frankfurter Eintracht and of the logos of Eintracht-Braunschweig- Ultràs and the “Schickeria Munich”. The reason for this choice is the “rejection of the 'establishment'” through which the Ultràs feel connected to Burgess' youth.
Examples
There was me, that is Alex, and my three droogs, that is Pete, Georgie, and Dim, and we sat in the Korova Milkbar trying to make up our rasoodocks what to do with the evening. The Korova milkbar sold moloko-plus ... This would sharpen you up and make you ready for a bit of the old ultra-violence.
“This is me, Alex, and my three droogs: Pete, Georgie and Dim. We sat in the Korova milk bar and broke our rasoodocks, which we should do with this evening. In the Korova milk bar you could get Moloko-Plus ... It heats you up and is just right if you feel like a little ultra-brutal. "
Yarbles! Great bolshy yarblockos to you. I'll meet you with chain or nozh or britva anytime, not having you aiming tolchocks at me reasonless. ... Best not to say more. Bedways is rightways now, so best we go homeways and get a bit of spatchka. Right, right?
“Jarbles! Big bolschy Jarbleckos for you! I'll come to you with a chain or Nosch or Britva, whenever you want ... You won't give me mad shocks! … Best, we don't talk anymore! Bettwärts is the best now! Drum home and then a little bit of Spatschka ... Righty Right? "
The sounds were real horror show. … A young devotchka… was being given the old in-out, in-out first by one malchick, then another, then another… When it came to the sixth or seventh malchick, leering and smecking and then going into it, I began to feel really sick. But I couldn't shut my glazzies. And even if I tried to move my glazz-balls about, I still could not get out of the line of fire of this picture.
“The sound was a real horror show! ... You had a young Dewotschka in the pincers, and played the old in-out-in-out game with her ... First a Malchick, then another, and so on! And when it finally came to the sixth or seventh Malchick and laughing and drooling over her, I felt really sick! But I couldn't close my glotzies! And even if I twisted it, I couldn't get the film out of view. "
- Vocabulary : Droog : friend; Rasoodock : brain; Moloko-Plus : milk with drugs; Ultra-brutal : murder, also: brutality, rape; Jarbels : testicles; bolschig : large; Nosch : knife; Britwa : razor; Mad shock : blow; Spatschka : sleep; horror show : good; Devotschka : girl; Malchick : guy, boy; All-out game : sex, mostly in the sense of rape; Glotzies : eyes
literature
- Anthony Burgess: Clockwork Orange. Roman (= Heyne books. Heyne general series. Vol. 10496). (For the first time with a glossary). Newly translated from English by Wolfgang Krege . Heyne, Munich 1997, ISBN 3-453-13079-0 .
- Anthony Burgess: A Clockwork Orange (= Reclams Universal Library . No. 9281). Published by Claus Melchior. Reclam, Stuttgart 1992, ISBN 3-15-009281-7 (several editions).
- Anthony Burgess: Clockwork Orange. The original version. Edited with an afterword and annotations by Andrew Biswell. Translated from the English by Ulrich Blumenbach . Klett-Cotta, Stuttgart 2013, ISBN 978-3-608-93990-3 .
- Oliver Siebold: Word - Genre - Text. Word formation in science fiction. Narr, Tübingen 2000, ISBN 3-8233-5850-2 (also: Berlin, Freie Universität, dissertation, 1998).
Web links
- Nadsat vocabulary list (German)
- Nadsat dictionary (English) with a declaration of origin
- A Clockwork Orange and the 'Nadsat' language ( Memento of July 10, 2003 in the Internet Archive )
Individual evidence
- ↑ See John A. Cuddon: A Dictionary of Literary Terms and Literary Theory. 3rd edition. Blackwell, Oxford et al. 1991, ISBN 0-631-17214-9 , p. 528.
- ↑ Andy Sawyer, David Seed (Ed.): Speaking Science Fiction. Dialogues and Interpretations (= Liverpool Science Fiction Texts and Studies. 21 (recte: 22)). Liverpool University Press, Liverpool 2000, ISBN 0-85323-844-8 , p. 85; Stuart Y. McDougal: "What's it going to be then, eh?": Questioning Kubrick's Clockwork. In: Stuart Y. McDougal (Ed.): Stanley Kubrick's A Clockwork Orange. Cambridge University Press, Cambridge et al. 2003, ISBN 0-521-57488-9 , pp. 1-18, here p. 9.
- ↑ Ulrich Faure: Anthony Burgess: The sorcerer from Manchester . Oliver Siebold: Word - Genre - Text. 2001, p. 207.
- ↑ Oliver Siebold: Word - Genre - Text. 2001, p. 206.
- ↑ Sigrid Freunek: Literary Orality and Translation. Using the example of German and Russian narrative texts (= Ost-West-Express. Vol. 2). Frank and Timme, Berlin 2007, ISBN 978-3-86596-104-4 , p. 80, (also: Heidelberg, University, dissertation, 2006).
- ↑ Oliver Siebold: Word - Genre - Text. 2001, p. 206 ff.
- ^ Anthony Burgess: You've Had Your Time. The Second Part of the Confessions. 1st American edition. Grove Weidenfeld, New York NY 1991, ISBN 0-8021-1405-9 , p. 38, (Translation by user: Tvwatch ).
- ^ John Field: Psycholinguistics: The Key Concepts . New York 2001, p. 128; see. In keeping with 2001 - a tribute to Stanley Kubrick A Clockwork Orange (1971)
- ↑ Ultras Braunschweig 2001 ( Memento of the original from March 22, 2008 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. ; See also Schickeria Munich ( Memento of the original from December 17, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
