عنوان المقال عربي
السمو ما بعد الحداثي في رواية قوس قزح الجاذبية لتوماس بينشون
Abstract
Thomas Pynchon, alongside only, perhaps, Vladimir Nabokov, stands as the dominant figure in post-World War II American fiction. Pynchon’s three novels of the nineteen sixties and early nineteen seventies – V. (1963), The Crying of Lot 49 (1966), and Gravity’s Rainbow (1973) – constitute the premier examples of the postmodern sublime in literature. Each work intimates the presence and power of another order of being: the inanimate in V., the Tristero in The Crying of Lot 49, and quite literally unending series of cabals, conspiracies, and gnostic realms in Gravity’s Rainbow. These “other worlds” are all finally unrepresentable; we receive intimations and manifestations of their presence within, or impingement upon, our everyday, profane or secular world; but “their” agency is always left unspecified, unlocatable, and uncertain; In fact, Pynchon’s characters always encounter things that seem to lie beyond cognition. As the threshold between worlds is crossed, these others
Keywords
Thomas Pynchon postmodern sublime Gravity's Rainbow Apocalypse fragmentation
Recommended Citation
Al-Ghizawi, Basim Neshmy Jeloud and Jadwe, Majeed U.
(2025)
"The Postmodern Sublime in Thomas Pynchon’s Gravity’s Rainbow,"
Uruk for Humanities: Vol. 13:
Iss.
3, Article 23.
Available at:
https://muthuruk.mu.edu.iq/journal/vol13/iss3/23
