Occupy a Clockwork Orange: Meaningful Violence in a Clockwork Orange

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Occupy A Clockwork Orange:
Meaningful Violence in A Clockwork Orange

Violence is unavoidable in our society. It hits us from every direction, you can’t watch TV for more than an hour without seeing some sort of violence nor can you listen to the radio without hearing of violent acts. However, George Gerbner asserts that seeing all of the violence is not necessarily detrimental to our minds. To Gerbner violence that, “Individually crafted, historically inspired, sparingly and selectively used expressions of symbolic violence can indicate the tragic costs of deadly compulsions” (Gerbner) is actually useful and can be used to teach moral lessons. In Anthony Burgess’ dystopian novel A Clockwork Orange Burgess uses a dark and futuristic society in addition to a sociopathic main character, Alex, the violence he commits, his subsequent incarceration and the Ludovico technique which he undergoes, as well as many other scenes of violence to force the reader to contemplate several moral conundrums in their own society. Burgess uses the novel as a way to speak out on the cyclical and damaging effects of using violence as a way to stop violence in addition he suggests violence alienates people and can turn them into something less than human. Even though on the surface it would seem that A Clockwork Orange is a text about frivolous violence, when you peel back the cover, you will see a text that forces you to ask questions about the society in which you live.

There has always been violent offenders in our world, and although our methods of dealing with them has varied greatly. From an eye for an eye, to our system now, most of these methods have had some sort of violence in them, and this is what Burgess is speaking out about in the text. He is saying that violence being used to combat violence is both, less effective than more peaceful methods and that it creates more violence than it prevents. One case in which this is obvious is when Alex is forced by F....
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