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Relevant bibliographies by topics / Pinchon, Thomas. Gravity's rainbow

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Academic literature on the topic 'Pinchon, Thomas. Gravity's rainbow'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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Journal articles on the topic "Pinchon, Thomas. Gravity's rainbow"

1

Marriott, David. "Gravity's Rainbow: Apocryphal History or Historical Apocrypha?" Journal of American Studies 19, no. 1 (April 1985): 69–80. http://dx.doi.org/10.1017/s0021875800020053.

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Nineteenth century novelists felt constrained to supply their readers with well-chosen epigraphs, and the personal canons from which they drew them, whilst seldom exclusively Biblical, provided a convenient index to their individual literary and philosophical predilections. Thomas Pynchon's canon is wilfully idiosyncratic and frequently apocryphal, but his epigraphs are no less apposite than George Eliot's; for in creating a fictional world out of what is largely palpable history Pynchon produces a homogenous medium which is neither fiction nor history. I have chosen the epigraph above because in addition to illustrating this admixture of fiction and history it also intimates to the reader an aspect of Pynchon's technique which may go some way towards explaining the rationale behind it. Some parts ofGravity's Rainbow, I think, might best be described as an attempt at writing a twentieth century “gospel.”The Oxyrhynchus papyri, referred to in the epigraph actually exist. They were discovered in 1898 and 1904 in Egypt, and were fragments of purported sayings of Jesus of Nazareth dating from the second century A.D. Not until 1956, when the translation of a gnostic library discovered at Nag Hammedai in Egypt was completed, did it become clear that the Oxyrhynchus papyri were fragments of a work calling itself theGospel of Thomas.

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2

Merrill, Robert, and Thomas Moore. "The Style of Connectedness: Gravity's Rainbow and Thomas Pynchon." American Literature 60, no. 1 (March 1988): 136. http://dx.doi.org/10.2307/2926418.

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Whitmarsh, Patrick. "Specters Of Communication: Supernatural Media In Thomas Pynchon's Gravity's Rainbow." MFS Modern Fiction Studies 63, no. 3 (2017): 524–46. http://dx.doi.org/10.1353/mfs.2017.0035.

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Encinas, Luis Fernando Catelan. "Gravity's Rainbow, de Thomas Pynchon: A paranoia como "estilo de conexao"." Magma, no. 13 (May 11, 2017): 191. http://dx.doi.org/10.11606/issn.2448-1769.mag.2016.122410.

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O objeto deste pequeno artigo é o problema da paranoia no livro de Pynchon, entendida não como desordem mental, mas como uma visão “sistemática” da realidade, onde as tramas estão inseridas em tramas ainda maiores, que, por sua vez, estão inseridas no conjunto ainda maior de suas quatro partes. É o que se poderia chamar de “estilo de conexão”, em que tudo está ligado, e cujo modelo, como veremos, é a paranoia.

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5

Slade, Joseph W. "Pynchon's Mythography: An Approach to "Gravity's Rainbow", and: The Style of Connectedness: "Gravity's Rainbow" and Thomas Pynchon (review)." MFS Modern Fiction Studies 34, no. 4 (1988): 665–66. http://dx.doi.org/10.1353/mfs.0.0815.

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FREER, JOANNA. "Thomas Pynchon and the Black Panther Party: Revolutionary Suicide in Gravity's Rainbow." Journal of American Studies 47, no. 1 (July 4, 2012): 171–88. http://dx.doi.org/10.1017/s0021875812000758.

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This article pertains to the recent upsurge of interest in the politics of Thomas Pynchon. It considers Pynchon as an author very much of the 1960s counterculture, and explores the countercultural values and ideals expressed in Gravity's Rainbow, with particular emphasis on revealing the novel's attitude to the Black Panther Party. Close textual analysis suggests Pynchon's essential respect for Huey P. Newton's concept of revolutionary suicide, and his contempt for Marxist dialectical materialism, two core elements of Panther political theory. Drawing on an analogy between the BPP and Pynchon's Schwarzkommando, an assessment is made of the novel's perspective on the part played by various factors – including the Panthers’ aggressive militancy, the rise of Eldridge Cleaver through the leadership, and the subtle influence of a logic of power influenced by scientific rationalism – in bringing about the disintegration of the Panther organization by the early 1970s. Given the similarities between the paths taken by the BPP and the wider counterculture in the late 1960s, the article considers Pynchon's commentary on the Panthers to be part of a cautionary tale for future revolutionaries fighting similar forms of oppression.

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7

Jo, Il-Jae, and Snagkoo Kim. "The Concept of Quantum Mechanics and A Reading of Thomas Pynchon's Gravity's Rainbow." Journal of Modern British and American Language and Literature 32, no. 1 (February 28, 2014): 163. http://dx.doi.org/10.21084/jmball.2014.02.32.1.163.

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8

Ames, Christopher. "Power and the Obscene Word: Discourses of Extremity in Thomas Pynchon's "Gravity's Rainbow"." Contemporary Literature 31, no. 2 (1990): 191. http://dx.doi.org/10.2307/1208586.

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9

Paul Eve, Martin. "Stefano Ercolino, The Maximalist Novel: From Thomas Pynchon's Gravity's Rainbow to Roberto Bolaño's 2666." Comparative Critical Studies 14, no. 2-3 (October 2017): 374–77. http://dx.doi.org/10.3366/ccs.2017.0245.

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10

Rankin, James M. "“A New Election, A New Preterition”: Early New England's Calvinism and the Hegemonic Framework of GRAVITY'S RAINBOW." New England Quarterly 91, no. 2 (June 2018): 331–48. http://dx.doi.org/10.1162/tneq_a_00672.

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This article identifies the Calvinism of New England as an underlying mechanism rather than a metaphor in Thomas Pynchon’s Gravity’s Rainbow. It also links historical and geographical space within the context of the religious and mystical aspects of Pynchon’s Zone.

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Dissertations / Theses on the topic "Pinchon, Thomas. Gravity's rainbow"

1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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Books on the topic "Pinchon, Thomas. Gravity's rainbow"

1

The style of connectedness: Gravity's rainbow and Thomas Pynchon. Columbia: University of Missouri Press, 1987.

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Thomas, Moore. The style of connectedness: Gravity's rainbow and Thomas Pynchon. Columbia: University of Missouri, 1987.

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3

Arich-Gerz, Bruno. Lesen, Beobachten: Modell einer Wirkungsästhetik mit Thomas Pynchons Gravity's Rainbow. Konstanz: UVK Universitätsverlag Konstanz, 2001.

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Charles, Hohmann. Thomas Pynchon's Gravity's rainbow: A study of its conceptual structure and of Rilke's influence. New York: Peter Lang, 1986.

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5

Allemano, Marina. Historical portraits and visions: From Walter Scott's Waverley to Michel Tournier's Le roi des Aulnes and Thomas Pynchon's Gravity's rainbow. New York: Garland, 1991.

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Neureuter, Elisabeth. Ordnung und Chaos in amerikanischen Romanen nach 1960: Joseph Heller Catch 22, John Barth Giles goat-boy, Thomas Pynchon Gravity's rainbow. [Regensburg]: Regensburger Skripten zur Literaturwissenschaft, 2001.

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Harold, Bloom, ed. Thomas Pynchon's Gravity's rainbow. New York: Chelsea House Publishers, 1986.

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Weisenburger, Steven C., and Luc Herman. Gravity's Rainbow, Domination, and Freedom. University of Georgia Press, 2013.

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Gravity's Rainbow, Domination, and Freedom. University of Georgia Press, 2013.

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A Gravity's Rainbow Companion: Sources And Contexts for Pynchon's Novel. 2nd ed. University of Georgia Press, 2006.

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Book chapters on the topic "Pinchon, Thomas. Gravity's rainbow"

1

Bronfen, Elisabeth, and KLL. "Pynchon, Thomas: Gravity's Rainbow." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_12358-1.

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