1. میسون و دیکسونِ تامس پینچن: یک کریستال - ایماژ دلوزی و تجسم دیرند آنری برگسون
- Author
-
شه تاو ناصری and محسن حنیف
- Subjects
HISTORICAL fiction ,FILMMAKING ,CRYSTALS ,CONCORD ,FILMMAKERS - Abstract
Introduction: Thomas Pynchon has instinctively embraced cinematic techniques and images and incorporated them into his literary landmarks. This connection with cinema is palpable in Mason & Dixon (1997) since it boasts of a filmic nature and diverse filmmaking techniques. Regarding this issue, the present article will demonstrate that this novel is a Deleuzian crystal image, embodying the Bergsonian durée. To fulfill my quest, I will explore the liquefied nature of the novel and its brimming with water, the blurring of history and tale, and the folding of free indirect discourse upon its entire body. Background of the Study: In "Introduction: The Times of Mason & Dixon" (2005), Elizabeth Hinds argues that Pynchon's novel is concerned with the correction of time and that it expresses its awareness of the difference between pre-modern and scientific views of time. Pynchon and Relativity: Narrative Time in Thomas Pynchon's Later Novels (2012) by Simon De Bourcier is another work devoted to the concept of time in Mason & Dixon. De Bourcier's study is in a sense, a time-machine because it does not address Pynchon's novels in chronological order. Its quest launches with his Against the Day (2006) and then travels back in time to Mason & Dixon. Methodology: This study seeks to examine the concepts of crystal-image and durée in Mason & Dixon and Deleuze's milestones Cinema 1 (1983) and Cinema 2 (1985) will extensively be used to provide an in-depth analysis of Pynchon's filmic novel. According to him, the post-WWII movies became crystal images that resisted the movement-image measures and their organic unity. In this book, he explores crystal and the power of the false (rather than the power of the true) by analyzing the cinema of the Italian neorealist filmmakers such as Federico Fellini and Roberto Rossellini as well as the Japanese director Yasujirō Ozu. Using extensively these two books, the present article will explore the concepts of crystal-image and the Bergsonian durée in Mason & Dixon. Conclusion: In Deleuze's cinema theory, the presence of water means the state of being a crystalline time-image space. In Mason & Dixon, as a liquefied crystal, water, in diverse forms, acts as a crystal and renders the entire novel a zone of indiscernibility. Furthermore, the blurring of history and fiction has enveloped the whole text, as a giant crystal. in this novel, there exists no linear history of progress, because history and fiction, past and present, and true and false have already entered the state of crystal. Mason & Dixon, is, also, an ideal manifestation of free indirect discourse, a literary and cinematic technique as it is a giant flashback. [ABSTRACT FROM AUTHOR]
- Published
- 2024