Lines of Flight : Discursive Time and Countercultural Desire in the Work of Thomas Pynchon (Post-contemporary Interventions)

個数：

Lines of Flight : Discursive Time and Countercultural Desire in the Work of Thomas Pynchon (Post-contemporary Interventions)

  • 提携先の海外書籍取次会社に在庫がございます。通常3週間で発送いたします。
    【重要ご説明事項】
    1. 納期遅延や、ご入手不能となる場合が若干ございます。
    2. 複数冊ご注文の場合、分割発送となる場合がございます。
    3. 美品のご指定は承りかねます。
  • 【入荷遅延について】
    世界情勢の影響により、海外からお取り寄せとなる洋書・洋古書の入荷が、表示している標準的な納期よりも遅延する場合がございます。
    おそれいりますが、あらかじめご了承くださいますようお願い申し上げます。
  • ◆画像の表紙や帯等は実物とは異なる場合があります。
  • ◆ウェブストアでの洋書販売価格は、弊社店舗等での販売価格とは異なります。
    また、洋書販売価格は、ご注文確定時点での日本円価格となります。
    ご注文確定後に、同じ洋書の販売価格が変動しても、それは反映されません。
  • 製本 Paperback:紙装版/ペーパーバック版／ページ数 304 p.
  • 言語 ENG
  • 商品コード 9780822329947
  • DDC分類 813.54

Full Description

For Thomas Pynchon, the characteristic features of late capitalism—the rise of the military-industrial complex, consumerism, bureaucratization and specialization in the workplace, standardization at all levels of social life, and the growing influence of the mass media—all point to a transformation in the way human beings experience time and duration. Focusing on Pynchon's novels as representative artifacts of the postwar period, Stefan Mattessich analyzes this temporal transformation in relation not only to Pynchon's work but also to its literary, cultural, and theoretical contexts.
Mattessich theorizes a new kind of time—subjective displacement—dramatized in the parody, satire, and farce deployed through Pynchon's oeuvre. In particular, he is interested in showing how this sense of time relates to the counterculture of the 1960s and 1970s. Examining this movement as an instance of flight or escape and exposing the beliefs behind it, Mattessich argues that the counterculture's rejection of the dominant culture ultimately became an act of self-cancellation, a rebellion in which the counterculture found itself defined by the very order it sought to escape. He points to parallels in Pynchon's attempts to dramatize and enact a similar experience of time in the doubling-back, crisscrossing, and erasure of his writing. Mattessich lays out a theory of cultural production centered on the ethical necessity of grasping one's own susceptibility to discursive forms of determination.

Contents

Introduction


1. Imperium, Misogyny, and Postmodern Parody in V.

2. Ekphrasis, Escape, and Countercultural Desire in The Crying of Lot 49

3. Turning Around the Origin in Gravity's Rainbow: Parody, Preterition, Paranoia, and Other Polymera

4. A Close Reading of Part I, Episode 19, of Gravity's Rainbow

5. Docile Bodies and the Body without Organs: Gravity's Gravity's Rainbow

6. Totality and the Repetition of Difference: Rereading the 1960s in Vineland

7. A Vigilant Folly: Lines of Flight in Mason & Dixon

Conclusion: Toward a Theory of Counterculture

Notes

Works Cited

Index