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Dissertations / Theses on the topic 'Gravity's rainbow'

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Published: 4 June 2021
Last updated: 12 February 2022

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1

Pooley, Charles. "The varieties of paranoia in Gravity's rainbow." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0002/MQ43933.pdf.

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2

Mouw, Ted. "Gravity's Rainbow: Modernist Discourse Vineland: Postmodernist Discourse." Oberlin College Honors Theses / OhioLINK, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1397142953.

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3

Simony, Christopher. "Slothrop's Sublime: Perversion and Paranoia in Gravity's Rainbow." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_theses/124.

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This paper examines how the protagonist of Gravity’s Rainbow, Tyrone Slothrop, seeks subjective fixity in the historical and postmodern sublime. Using an approach that draws upon the theories of Freud, Lacan, and Zizek, the essay argues that while Slothrop indulges his own paranoia and commits acts of increasing perversion to assert self, these attempts actually blur the lines of identity instead of presenting an autonomous being.
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4

Battesti, Anne. "Gravity's rainbow de Thomas Pynchon : l'écriture de la bifurcation." Orléans, 1994. http://www.theses.fr/1994ORLE1006.

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L'écriture de Th. Pynchon, dans son oeuvre majeure qu'est Gravity's rainbow, mobilise toutes les ressources de l'expressivité. Le spectacle d'une telle profusion reconduit la "bifurcation" majeure du roman au plan thématique : entre, d'une part, l'intégration tautologique de toute variété et de tout écart, et d'autre part la désintégration du monde et des significations dans la dissipation des formes. La dissipation affecte l'origine et l'autorité des discours, étudiés dans le premier chapître : la circulation des voix effectue un partage, et une dépossession des locuteurs ; la simulation et l'imitation sont une stratégie majeure du pouvoir comme de la résistance au pouvoir. Le deuxième chapître est une étude de la phrase. La multiplication des rapports à la faveur de l'ellipse parataxique, met en crise les continuités et produit des configurations instables. Ce métamorphisme est volontiers ironique et met en doute tout détournement : la révolte romantique contre la synthèse hypotaxique est à la fois ironisée et relayée. La dénomination et la métaphore occupent le troisième chapître. Dans la crise des rapports analogiques, épuisement symbolique, invention poétique et simulation s'échangent et ébranlent la figuration de l'autre, et de l'unique. Le lyrisme est tout contre ce qu'il combat
Th. Pynchon's style, in his major work Gravity's rainbow, is a sum of expressive ressources. This spectacular profusion exhibits the main "bifurcation" in the novel : between the tautological integration of variety and deviations on the one hand, and on the other hand the disintegration of the world and of meanings in a dissipative formlessness. The origins and authorities of discourses are affected, as shown in the first chapter : the circulation of voices points to a redistribution, but also a dispossession of the speakers ; impersonation and simulation are a major strategy of power, and of the resistance to power as well. The second chapter is a study of the sentence. The multiplication of relationships, thanks to the predominant paratactic ellipsis, produces a crisis of continuity and an instability of the configurations. Such metamorphism is often potentially ironic, and casts a doubt on the forms of deviation : the romantic rebellion against synthesis is replayed, between irony and the search for another subversion. Denomination and metaphor are examined in the third chapter. In the crisis of analogical relationships, ceaseless exchanges appear between symbolical exhaustion, poetic invention, and simulation : the figuration of the other, and of the singular, are everywhere pursued and threatened. Lyricism is right "against" the power it fights
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5

De, Zwaan Victoria. "Metaphor and possibility in Pynchon : an interpretation of Gravity's rainbow." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65485.

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6

Ober, Didier. "L'apocalypse et son theatre dans "gravity's rainbow" de thomas pynchon." Lille 3, 1996. http://www.theses.fr/1996LIL30021.

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"gravity's rainbow" est le theatre d'une fin du monde imminente et qui a pour-tant deja eu lieu sous cette surface que l'on appelle "realite" ou "histoire". Theatralisee, cette fin est un devenir. Concernant autant les personnages que le lecteur, la quete du sens, ou meme d'une coherence, devieirt l'experience d'une ; prrance en devenir, a jamais inachevee et qui plongerait le sujet dans le devenir de sa propre. Disparition. Le recit lui-meme se nourrit de sa propre destruction et donne lieu a une nouvelle destination, a un nouveau commencement qui ne peut etre que le recommencement de sa propre fin ou de l'impossibilite du sens. C'est | une apocalypse en ce sens que, par-dela la destruction du monde et l'eclatement du cadre fictionnel, est devoilee la theatralite du monde et de l'histoite. Ce devoilement mene a une autre facon de lire, mais aussi de voir le monde, et a sa regeneration par la multiplicite. L'oeuvre en tant qu'objet d'interpretation disparait dans l'experience de sa lecture, destabilisant le lecteur et son besoin de coherence. La quete semble se prolonger au-dela du livre
"gravity's rainbow" is the theater of an end of the imminent world and which has already placed on this surface which is called "reality" or "history". Theatralized, this end is a becoming. Concerning the characters that the reader, the quality of the sense, or even of a coherence, should take the experience of one; prevail in becoming, never unaccepted and that would dive the subject in the becoming of his own disappointment. The sentence himself is entitled to its own destruction and gives a new destination to a new beginning that may be only the recommendation of his own end or the impossibility of sense. This is | an apocalypse as meaning that beyond the destruction of the world and the exclusion of the fictional framework is unveiled theatrality of the world and histoy. This devoyment has another way to read, but also see the world, and has regeneration through multiplicity. The work as an object of interpretation was disappeared in the experience of its reading, destabilizing the reader and its need of coherence. The question seems to extend beyond the book
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7

Stern, Megan. "The poetics of technoscience in Thomas Pynchon's Gravity's Rainbow and Vineland." Thesis, University of Kent, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296719.

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8

Zadworna-Fjellestad, Danuta. "Alice's adventures in wonderland and Gravity's rainbow a study in duplex fiction /." Doctoral thesis, Stockholm, Sweden : Almqvist & Wiksell International, 1986. http://books.google.com/books?id=Q5laAAAAMAAJ.

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9

Spencer, Benjamin Paul. "Memory Machines: Exploring Moby-Dick and Gravity's Rainbow Through the History of Film." Thesis, Virginia Tech, 2011. http://hdl.handle.net/10919/31492.

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For close to a decade, I have weighed comparative approaches to â the Great American Novelâ . Progress increased as soon as I resolved on selecting Moby-Dick as the work originally responsible for issuing that slogan. Making this particular selection required the application of a dynamic concept which, appropriately, reflects critiques of knowledge production: â the Archiveâ . Perhaps the most direct references to a conceptual archive appear in Derridaâ s Archive Fever: A Freudian Impression, which addresses the dual forces â preservation/destructionâ that influence allegory and mythology. Other critical writers refer to a similar concept through various other terms, ultimately equipping my thesis with a method for studying the relation between myth and allegory. The method draws from each writerâ s focus on the form and content dynamics of artifacts, and how these dynamics reflect the historical conditions that affirm or produce them. Specifically, all the writers I have selected to study, in some way consider the play between the mechanical apparatus and the representation it produces. Thus, I concluded that my literary comparative approach could involve juxtaposing a different, historically concurrent mode of documentation: film media and photography. Gravityâ s Rainbow is often considered, after Moby-Dick, the most universally-recognized â Great American Novelâ . Pynchon spends a lot of time referring to mass-produced films, their effects on the global order emerging with WWII, and to the material occurrence of film technology as it relates to the book as a material artifact. For Pynchon, the backlots built up by such â greatsâ as D.W. Griffith constitute the twentieth-century frontier.
Master of Arts
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10

Joyce, Peyton Meigs. "(Re)visions of genocide narratives of genocide in Thomas Pynchon's V. and Gravity's Rainbow /." Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/460587574/viewonline.

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11

Kennedy, Robert Oran. ""And a soul in ev'ry stone"| The ludic natures of Pale Fire and Gravity's Rainbow." Thesis, The University of Utah, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10001410.

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The author argues that ecocriticism has overlooked important works of mid-20th-century American literature because of their unorthodox approaches to writing about nature. These unorthodox approaches revolve around the use of humor and play to formulate arguments about nature. The author argues that because ecocriticism as a political critique emphasizes ecological catastrophe, humor and ludic writing tend to get ignored in the critical discussion. The author expresses the desire to expand the conversation on ludic texts. The author argues that two texts with relatively little ecocritical attention, Thomas Pynchon’s Gravity’s Rainbow and Vladimir Nabokov’s Pale Fire, use the aesthetic theories of Friedrich Nietzsche to explain the role of the non-human in human civilization.

In the first chapter, Vladimir Nabokov’s Pale Fire is argued to be a novel that is about the natural source of human aesthetic production. The author synthesizes studies of the novel and argues that Nabokov’s novel, both in its language and form, valorizes mimesis as the source of all aesthetic production. Nabokov’s belief in some form of design is examined through mimicry, and is found to permeate the novel through structural and descriptive references to games and nature. Nabokov is found to be influenced by the theories of Friedrich Nietzsche, Johan Huizinga, and Walter Benjamin. Nabokov ultimately finds that the justification for the world is aesthetic, that nature is important to humans as the origin of all artistic impulses.

The second chapter reads Thomas Pynchon’s Gravity’s Rainbow through the many references to Nietzsche’s Birth of Tragedy, finding that the novel sets nature against civilization according to Nietzsche’s distinction between the Dionysian and the Apollonian. The author finds that the novel holds up the natural world as a counter-force to the capitalist impulse to control and exploit the natural and human worlds. The author examines how Pynchon uses Dionysian tropes like drunkenness, absurdity, music, and feelings of oneness in the novel in moments of resistance to the dominant order.

The conclusion suggests that the work of Friedrich Nietzsche ought to be examined as an influential source for modern views on the value of nature.

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12

Smith, Kyle Wishart. "The true momentum of its time : Gravity's rainbow and pre-cold war British spy fiction." Thesis, University of Birmingham, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369707.

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13

Ferreira, Nuno Ricardo F., and Carlos Azevedo. "A Elipse da Incerteza : do sentido do (ba)bélico em Gravity's Rainbow, de Thomas Pynchon." Dissertação, Porto : [Edição do Autor], 2009. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000196309.

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Num cenário de guerra, o bélico gera o babélico, a falta de sentido. Aqui reside a lógica de Gravity's Rainbow, pois o seu núcleo é uma ausência centrípeta. Esta angústia epistemológica implica a fragmentação ontológica dos mundos de Gravity's Rainbow. Tyrone Slothrop e a Zona, respectivamente os micro e macrocosmos de Gravity's Rainbow, são as representações por excelência desta disseminação da unidade. A incerteza dos seus contornos revela-os como espaços coerentes: a sua integridade reside na sua verosímil desintegração. Expoente máximo do Pós-Modernismo, a obra-prima de Thomas Pynchon anula-se como texto maior de sentido, como qualquer metanarrativa. Em Gravity's Rainbow, quer a ciência quer a história serão refundidas, e o leitor, epistemologicamente abalado, reformular-se-á ontologicamente. Condicionado a descondicionar-se, o leitor terá de conviver com a sua "Capacidade Negativa", admitindo a incerteza - talvez não ache elíptico.
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Ferreira, Nuno Ricardo F., and Carlos Azevedo. "A Elipse da Incerteza : do sentido do (ba)bélico em Gravity's Rainbow, de Thomas Pynchon." Master's thesis, Porto : [Edição do Autor], 2009. http://hdl.handle.net/10216/20205.

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Num cenário de guerra, o bélico gera o babélico, a falta de sentido. Aqui reside a lógica de Gravity's Rainbow, pois o seu núcleo é uma ausência centrípeta. Esta angústia epistemológica implica a fragmentação ontológica dos mundos de Gravity's Rainbow. Tyrone Slothrop e a Zona, respectivamente os micro e macrocosmos de Gravity's Rainbow, são as representações por excelência desta disseminação da unidade. A incerteza dos seus contornos revela-os como espaços coerentes: a sua integridade reside na sua verosímil desintegração. Expoente máximo do Pós-Modernismo, a obra-prima de Thomas Pynchon anula-se como texto maior de sentido, como qualquer metanarrativa. Em Gravity's Rainbow, quer a ciência quer a história serão refundidas, e o leitor, epistemologicamente abalado, reformular-se-á ontologicamente. Condicionado a descondicionar-se, o leitor terá de conviver com a sua "Capacidade Negativa", admitindo a incerteza - talvez não ache elíptico.
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15

Pokotylo, Heather. "The film break : Thomas Pynchon's Gravity's rainbow, Gilles Deleuze's Cinema, and the emergence of a new history." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99743.

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This thesis uses the film philosophy of Gilles Deleuze in Cinema 1: The Movement-Image (1983, trans. 1986) and Cinema 2: The Time-Image (1985, trans. 1989) as a methodology for examining the subject of film in Thomas Pynchon's novel Gravity's Rainbow (1973). The first half of the thesis provides a review of the literature on the subject of film in Gravity's Rainbow, as well as a review of current scholarship on Deleuze's Cinema books, before providing a close reading of both Cinema books that summarizes and explicates the elaborate taxonomy of cinematic signs and images developed by Deleuze. The second half of the thesis uses Deleuze's cinematic taxonomy to analyze examples of time-images and movement-images in Gravity's Rainbow. The thesis concludes by connecting the work of Pynchon's novel to the work of Deleuze's study in a discussion of how film participates in the emergence of a new concept of history during the postwar period.
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Kharpertian, Kiara L. Pynchon Thomas. "Little Slothrop and the big bad rocket : approaches to the mythological and mechanical rocket-god in Thomas Pynchon's Gravity's Rainbow /." Connect to online version, 2007. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2007/229.pdf.

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17

Kapp, W. "The treatment of Historical space in selected works by Thomas Pynchon." University of the Western Cape, 2004. http://hdl.handle.net/11394/8199.

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Magister Artium - MA
The focus on space and spatiality is relatively new in literary studies and also not unproblematic. Problems arise from the way in which these concepts are constructed, described, defined and interpret~. It is possible to derive numerous kinds of space, such as historical space, physical space, metaphysical space and religious space, to name a few, from the structure or thematics of a novel. This in itself presents a problem, since the literary scholar must differentiate between these spaces in order to determine which will be most useful for study of a particular aspect. There does not seem to be a coherent theoretical position in literary scholar regarding space, and thus various views of theorists will be considered. Gullon (1975:21), in a seminal article on space entitled On Space in the Novel provides a possible definition of space, with reference to another seminal article, this time by Joseph Frank when he states that "Frank calls 'spatial' the form of those works that at a given instant in time concentrate actions that can be perceived, but not related, simultaneously". This definition denotes a further complication engendered by space, namely the notion that different spaces intersect and interrelate with each other, and consequently that it is very difficult - if not impossible - to separate the various kinds of literary spaces in order to analyse the occurrence of a single space in a text. It also seems bound to time, but in a sense bridges the temporal gaps in a novel since it brings together parts that are not necessarily adjacent to each other temporally. Time becomes spatialized by treating events in the novel as separate chunks which can be rearranged and linked to each other. 1bis creates a more coherent and comprehensive picture of events in a text. namely the notion that different spaces intersect and interrelate with each other, and consequently that it is very difficult - if not impossible - to separate the various kinds of literary spaces in order to analyse the occurrence of a single space in a text. The main point in this regard seems to be creating patterns. This brings together more elements for the reader to be viewed at once, allowing him or her to attain a broader perspective on the text.
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Lévy, Clément. "La crise du territoire : la représentation de l'espace géographique dans quatre fictions postmodernistes d'Italo Calvino, Jean Echenoz, Thomas Pynchon et Christoph Ransmayr." Limoges, 2008. http://aurore.unilim.fr/theses/nxfile/default/190642d5-b70f-403b-a454-11d9d0727c89/blobholder:0/2008LIMO2009.pdf.

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Ce travail de recherches géocritiques étudie dans "Le Città invisibili" (1972) d'Italo Calvino (1923-1985), "Les Grandes blondes" (1995) de Jean Echenoz (1947-. . . . ), "Gravity's Rainbow" (1973) de Thomas Pynchon (1937-. . . . ) et "Morbus Kitahara" (1995) de Christoph Ransmayr (1954-. . . . ) des récits de fiction postmodernistes mettant en scène la crise du territoire. Encadrant le plein développement d'un courant esthétique et théorique qui remet en cause les normes et affirme le pluriel contre l'universel, la multiplicité et les réseaux contre les oppositions binaires, ces fictions représentent l'espace-temps dans des territoires éphémères et disputés dont les limites sont incertaines et l'histoire contestée. L'analyse de la parodie, de l'ekphrasis, du déplacement et de la géographie postmodernes dans les oeuvres du corpus permet de mettre en évidence l'intérêt des concepts de chronotope (Bakhtine), de brouillage référenciel (McHale), d'hétérotopie (Foucault), de déterritorialisation (Deleuze et Guattari) pour des études en géocritique littéraire. Chacun des textes littéraires étudiés présente un différent type de crise du territoire, car les territoires fictionnels représentés sont des non-lieux, ils sont altérés, disparus, utopiques, uchroniques : ils échappent à la définition attendue et sont marqués par la mélancolie. Cependant, la fiction postmoderniste, mettant en crise la représentation, propose aussi de donner forme au monde par le texte, qui se fait à la fois interface entre des milieux et réseau de flux d'informations. Dans ce nouveau type de territoires, les énergies et la matière s'auto-organisent, et l'oeuvre littéraire qui les représente décrit un cosmos derrière le chaos apparent.
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Wilkins, Peter Duncan. "The transformation of the circle : an exploration of the post-encyclopaedic text." Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/26939.

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Any text which criticizes, undermines and/or transforms the encyclopaedic ideal of ordering and textualizing the world in a closed, linear fashion can be defined as a post-encyclopaedic text. This thesis explores both theoretical and artistic texts which inhabit the realm of post-encyclopaedism. In the past, critical speculation on encyclopaedism in literature has been concerned with the ways in which artistic texts attempt to live up to the encyclopaedic ideal. In some cases, this effort to establish an identity between the artistic text and the encyclopaedia has led to an ignorance of the disruptive or even deconstructive effects of so-called fictional encyclopaedias. Once we recognize the existence of such effects, we must begin to examine the techniques and possibilities of post-encyclopaedism. Hence we can see post-encyclopaedic qualities in the condensed meta-encyclopaedism of Jorge Luis Borges' "Tlön, Uqbar, Orbis Tertius", the disrupted quests for encyclopaedic revelation in Herman Melville's Moby Dick and Thomas Pynchon's Gravity's Rainbow, and the principle of textualized world as fugue in Louis Zukofsky's "A"-12. In addition, we can create a theoretical space for the post-encyclopaedic text by weaving together Mikhail Bakhtin'sideas on the novel as opposed to the epic, Michel Foucault's notion of restructuring the closed circle of the text through mirrored writing, Jurij Lotman's theory of internal and external recoding in texts, and Umberto Eco's concept of the open text. By combining an investigation of theoretical and artistic texts which lend themselves to post-encyclopaedism, we can create a generic distinction between texts which attempt to be encyclopaedic in themselves: and texts which disrupt and/or transform the encyclopaedic ideal
Arts, Faculty of
English, Department of
Graduate
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20

Marriott, A. D. "'Appropriately related changes' : the meaning of narrative in Thomas Pynchon's 'Gravity Rainbow'." Thesis, University of Manchester, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356712.

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21

Abu, Shal Abdulrahman Faisal. "Conspiracy Theory and Conspiracism in Postwar Literature." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1594201143469153.

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22

WU, CHANG-JYE, and 吳昌杰. "POWER, HISTORY, AND NARRATIVE: THOMAS PYNCHON'S GRAVITY'S RAINBOW." Thesis, 1992. http://ndltd.ncl.edu.tw/handle/14986533683051892413.

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23

Crowley, Michael J. "Authority and authenticity in Gravity's rainbow and Mason & Dixon." 2002. http://purl.galileo.usg.edu/uga%5Fetd/crowley%5Fmichael%5Fj%5F200212%5Fphd.

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Linn, Ling-Yin, and 林玲吟. "Thomas Pynchon's Carnical Sense of World: A Bakhtinian Reading of Gravity's Rainbow." Thesis, 1993. http://ndltd.ncl.edu.tw/handle/18311904501012245370.

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碩士
國立高雄師範大學
英語教育研究所
81
Thomas Pynchon is one of the most important contemporary American writers. His novel Gravity' s Rainbow is ranked with the American masterpiece Moby-Dick and the English writer Jame Joyce's Ulysses. As a work of the important postmodernist, Gravity's Rainbow is full of all kinds of absurdities in contemporary human civilization. ln Bakhtin's Problems of Dostoevsky's Poetics and Rabelais and His World, such phenomenon is attributed to the carnivalization of literature. Carnival is a folk culture which is opposed to the official culture. Mihail Bakhtin generalizes the characteristics of carnival and posits four categories: Free and Famliar Contact among People, Eccentricity, Profanity, and Carnivalistic mesalliances. This thesls generalizs Baktin's theory and induces three properties for the carnivallzed literature: Subversive Nature, Regenerative Energy, and Synthetic Power. This thesis focuses on Gravity's Rainbow for the superiority of its width and depth. lt is hailed by critics as an encyclopedic narrative. lt contains miscellaneous things, including history, politics, economy, astrol,geography,psychology,technology,chemistry,etc.Essays about this thesis is innumerable,but few critics apply Bakhtin's theory in reading this book, Some critics refer this book to the Menippean Satire, a literary form which employs mixture of prose and poetry to satirze the absurd phenomena in our society.Caivalization is one of the foms Menippean Satire employs.This thesis applies Bakhtin's theory of carnivalization to the reading of Gravity's Rainbow, so as to see Pynchon's carnival sense of worid. 　　Chapter l is introductory essay which indicates the purpose of the study, the status of the author and his novel, the approach to the research and illumination of Bakhtinian theory of carnivalized literature. 　　Chapter ll illustrates the elements in Gravity's Rainbow that accord with the subversive characteristics of the carnivalized literature. Thase elements liclude Pynchon's employment of the carnivalistic characters, images, acts, and language. 　　Chapter lll cotinues to account elemets in Gravity's Rainbow in accord with the regenerative and synthetic characteristics of the carnivalized literature. The first part deals with the regenerative energy such as liberation and optimism; the second part discusses the synthetic power-dualism and carnivalistic mesalliances. 　　ln Chapter lV, the discussion transfers to view Gravity's Rainbow as carnivalistic parody of the quest of the Holy Grail, the absurditu of scientific experiment and racism of European whites. 　　Chapter V concludes te above mentioned by stating Pynchon's carnival sense of world, and hence adds a different voice to the critciism of Pynchon's works.
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Grabar, Mary. "Analogies between Nazi culture and American culture in Gravity's rainbow, The thanatos syndrome, and White noise." 2002. http://purl.galileo.usg.edu/uga%5Fetd/grabar%5Fmary%5F200208%5Fphd.

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26

Burleson, Jason. "Funkce paranoi v Pynchonově románu Duha gravitace." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-405179.

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(EN) The present MA thesis focuses on the function of paranoia found in Thomas Pynchon's Gravity's Rainbow. Pynchon's novel is routinely considered one of the finest pieces of American fiction to emerge after World War II and no discussion of this book can avoid the topic of paranoia. Its usage dates back to the time of Hippocrates and, after centuries of addition, the term paranoia is no longer confined to the medical community. After entering popular usage there is no consensus as to how this term is defined. It now possesses a sort of freedom that Pynchon routinely exploits. Paranoia resists isolation in this text. The specific approach to understanding its function is dependent on three parts. First, the reader must identify the countless forms of paranoia spread throughout Gravity's Rainbow. Next, one must understand why a specific example from the novel represents a form of paranoia in Pynchon's fictional world. Finally, the reader must recognize why an isolated form of paranoia is present and what Pynchon hopes to achieve through its presentation. The paranoia found in Gravity's Rainbow has no fixed meaning. This is a conscious decision on the part of Pynchon and its central goal is to destabilize the entire narrative, which is a central part of paranoia's immense power regularly employed....
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27

Brownlie, Alan William. ""Private colonies of the imagination": Power and possibility in Thomas Pynchon's "V.", "The Crying of Lot 49", and "Gravity's Rainbow"." 1997. https://scholarworks.umass.edu/dissertations/AAI9809312.

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The purpose of my research into Thomas Pynchon's use of ideas from science and philosophy is to show that this group of novels is not, as critics contend, nihilistic, but rather hopeful. In his first novel, V., Pynchon establishes the idea that truth--whether historical, political, scientific or personal--cannot be determined with absolute confidence. He extrapolates from Wittgenstein's claim (Tractalus Logico-Philosophicus) that "the world is all that is the case" to demonstrate that "the case" is different according to each observer. He makes this apparent in a variety of narrative devices which upset conventional novelistic expectations. In his second novel, The Crying of Lot 49, Pynchon explores the social implications of adherence to ideas of certainty based on bivalent models. The central metaphor of the novel is James Clerk Maxwell's thought experiment, in which a demon sits between two chambers in a closed thermodynamic system, sorting molecules of gas according to their ability to do thermodynamic work. The novel presents a variety of worlds which exist between the two values recognized by the sorting demon. In Gravity's Rainbow the emotional and intellectual uncertainties of the characters stand in marked contrast to the products of modern science, represented by the A4 rocket. By novel's end the rocket is about to fall on Los Angeles, but beneath the arc between the firing of the A4 in 1945 and its eventual fall on Los Angeles are possibilities for stopping its progress. Together the novels present a critique of European-American ideas and contemporary attempts at social reform through a web of scientific, historical, and philosophical allusions.
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