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Journal articles on the topic 'Pynchon'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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1

MADSEN, DEBORAH L. "Hawthorne's Puritans: From Fact to Fiction." Journal of American Studies 33, no. 3 (1999): 509–17. http://dx.doi.org/10.1017/s0021875899006222.

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Nathaniel Hawthorne's view of his first American ancestors as belonging to a grim and gloomy race, impatient with human weaknesses and merciless towards transgressors, reflects a wide-spread popular attitude towards the Massachusetts Bay colonists. Indeed, Hawthorne's contribution to the construction and perpetuation of this view is not inconsiderable. Hawthorne frankly confesses to his own family descent from one of the “hanging judges” of the Salem witchcraft trials, and he does not spare any instance of persecution, obsession, or cruelty regarding the community led by his paternal ancestors. But Hawthorne does not stop at indicting his own family history; in a famous exchange with the president of Hartford College, Thomas Ruggles Pynchon, shortly after the publication of The House of the Seven Gables (1851) Hawthorne is accused of blackening the reputation of another of New England's great colonial families. Hawthorne denied any knowledge of a “real” Pynchon family, let alone one with living (and litigious) descendants. He apologized for his mistake and offered to write an explanatory preface (which never appeared) for the second edition. Historical evidence suggests that Hawthorne, in fact, knew the history of the Pyncheon family, in particular William Pyncheon and his son John, of Springfield, who shared political and business connections throughout the mid-seventeenth century with William Hathorne of Salem. William Hathorne was a notorious persecutor of Quakers and his son John was the “hanging judge” of the witchcraft trials; William Pyncheon was a prominent fur-trader and founder of several towns along the Connecticut River who left the colony abruptly in circa 1651 accused of heresy. Given this history, a more likely model for the grim Colonel Pyncheon of Nathaniel Hawthorne's novel is rather a composite of John and William Hathorne than William Pynchon. So why should Nathaniel, who had already in his fiction revealed his family skeletons, choose to displace his own family history on to the Pyncheon family, with all the trouble that then ensued?
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2

Salami, Ali, and Razieh Rahmani. "Pynchon’s Against the Day: Bilocation, Duplication, and Differential Repetition." Journal of Language Teaching and Research 9, no. 5 (2018): 953. http://dx.doi.org/10.17507/jltr.0905.08.

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In Against the Day, Pynchon is obsessed with twoness, double worlds, as well as dual realities, and like Deleuze’s concept of repetition, these duplications and twinships are not merely repetition of the same, rather they allow for creativity, reinvention, and becoming. Pynchon’s duplication of fictional and spectral characters intends to critique the notion of identity as does Deleuzian concept of repetition. Not attached to the representational concept of identity as the recurrence of the same, Pynchon’s duplications decenter the transcendental concept in favor of a perpetual becoming and reproduces difference and singularity. Like Deleuze, Pynchon eschews an identity that is always guaranteed, and shows that the repetition of an object or a subject is not the recurrence of the original self-identical object or person. Moreover, Iceland spar, the mystifying calcite, with its doubling effect provides the reader with a view of a world beyond the ordinary, actual world, which is quite similar to what Pynchon’s novel does per se.
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3

Arich-Gerz, Bruno. "Kometa i rakieta: postęp technologiczny w intertekstualnych konstelacjach "Komety" Brunona Schulza i "Tęczy Grawitacji" Thomasa Pynchona." Schulz/Forum, no. 19-20 (October 18, 2022): 152–70. http://dx.doi.org/10.26881/sf.2022.19-20.08.

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Twentieth-century literary representations of objects that fall from the sky include technological, man-made items as well as natural phenomena. Writers have contributed their specific readings to instances of this kind, and have grafted specific symbolic meanings on these phenomena. The falling object in question can be a supersonic rocket like the one that constitutes the thematic center of the American novelist Thomas Pynchon’s 1973 Gravity’s Rainbow. It may likewise be a celestial body, a larger and usually more destructive one than a mere meteor — a bolide, in other words, like the one Bruno Schulz describes in his 1938 story “Kometa”. What the rocket and the comet have in common is that Pynchon and Schulz ascribe a special significance to their respective flight curves and, more specifically, to the turning point of this parabola. Pynchon associates the issue of immobility at the rocket’s turning point with that of transformation; an instance mirrored in the text by Schulz, who moreover does so – again like Pynchon later – with reference to cyclists transmogrified into frozen firmament riders. The paper identifies a common intertextual reference point for this in the poetry of Rainer Maria Rilke. It demonstrates the impact as well as the similarities, but also interpretational differences of the Rilkean constellation of new stars named “Rider” in Schulz’s and Pynchon’s fiction.
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4

Morawietz, Eva. "Die Rezeption Salvador Dalís in der amerikanischen Kultur der Nachkriegszeit." Zeitschrift für Katalanistik 21 (July 1, 2008): 197–216. http://dx.doi.org/10.46586/zfk.2008.197-216.

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Summary: In light of Salvador Dalí’s manifold activities during his sojourn in the United States, it seems surprising that so little scholarly attention has been devoted to the wide influence of Dalí’s oeuvre on the American culture of the post-war period. This essay ventures to investigate the stylistic and thematic impact of his imagery and his theoretical writings on the culture of Postmodernism, and more specifically, on postmodern American literature, exemplified in the works of Thomas Pynchon. After a brief overview of Dalí’s activities in the United States and of general common ground of his work with the culture and thought of Postmodernism, this article discusses his use of stylistic techniques, e.g. assemblage and eclecticism, as well as the assumed implications for Pynchon’s postmodern aesthetics. The main focus will then be put on a discussion of Dalí’s and Pynchon’s constructions of paranoia. [Keywords: Dalí, Pynchon, American Postmodernism, Surrealism, assemblage, eclecticism, intermediality, paranoia, paratext]
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5

FREER, JOANNA. "Thomas Pynchon and the Black Panther Party: Revolutionary Suicide in Gravity's Rainbow." Journal of American Studies 47, no. 1 (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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6

Pederson, Joshua. "The Gospel of Thomas (Pynchon): Abandoning Eschatology in Gravity’s Rainbow." Religion and the Arts 14, no. 1-2 (2010): 139–60. http://dx.doi.org/10.1163/107992610x12592913031865.

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AbstractIt is tempting to read Thomas Pynchon’s sprawling masterpiece Gravity’s Rainbow—with its shell-shocked refugees fleeing across a missile-pocked, post-war landscape—as an eschatological text that plays out religious end-times scenarios. However, an invented citation from the non-canonical Gospel of Thomas included as a chapter epigraph—“Dear Mom, I put a couple of people in hell today”—suggests that we should do otherwise. In grafting a playful fragment about Jesus, judgment, and hell onto Thomas, Pynchon parodies a common need to read eschatological themes back into non-eschatological texts. In doing so, he also provides a powerful heuristic for interpreting his own book. Ultimately, Pynchon’s own rocket-gospel is likewise a non-eschatological text. Like Thomas, Gravity’s Rainbow stymies readers’ efforts to derive a clear eschatology from it—or to read one back into it. In this essay, I contend that Pynchon enacts a number of strategies to keep his audience from reading classic end-times scenarios into his own work, all of which are prefigured by the Gospel of Thomas.
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7

FLAY, CATHERINE. "After the Counterculture: American Capitalism, Power, and Opposition in Thomas Pynchon's Mason & Dixon." Journal of American Studies 51, no. 3 (2016): 779–804. http://dx.doi.org/10.1017/s0021875816001961.

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Although Thomas Pynchon has continued to publish long after the postwar American countercultural era, his politics are critically characterized in relation to that movement's values. The dominant critical positions associate power with rationalism and functionality, and political opposition with creativity and pleasure, positioning Pynchon's novels at a politicized intersection between postmodernism and the counterculture. This article problematizes this dominant critical position, taking Mason & Dixon (1997) as exemplary of Pynchon's reconsideration of the nature of power and potential opposition to it in response to the countercultural movement's failures and successes, and to developments in capitalist social organization in the 1980s.
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8

Cowart, David, and Joseph W. Slade. "Thomas Pynchon." American Literature 65, no. 1 (1993): 170. http://dx.doi.org/10.2307/2928104.

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9

Jenei, Gyöngyvér. "The effects of translation a reading of Rilke-quotes in Gravity’s Rainbow." Compendium : Journal of Comparative Studies = Revista de Estudos Comparatistas, no. 4 (2023): 31–47. http://dx.doi.org/10.51427/com.jcs.2023.0004.

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Neste artigo, estuda-se o papel das citações literárias no romance Gravity’s Rainbow de Thomas Pynchon, assim como na respectiva tradução húngara, analisando um conjunto de citações seleccionadas dos poemas tardios de Rainer Maria Rilke no romance. Primeiramente, explora-se a noção de intertextualidade conforme desenvolvida pelo círculo Tel Quel, para demonstrar que se trata de uma característica definidora da escrita pós-modernista de Pynchon. Em seguida, propõe-se uma leitura dos vários contextos e conotações que as Elegias de Duíno de Rilke evocam no texto de Pynchon. É meu propósito destacar a natureza multifacetada da paisagem intertextual patente na obra de Pynchon, assim como o seu uso complexo de referências, e as diferenças que existem entre essa paisagem e a da tradução húngara.
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10

Eve, Martin Paul. "Thomas Pynchon & the Dark Passages of History / Pynchon and Relativity: Narrative Time in Thomas Pynchon's Later Novels." Textual Practice 26, no. 5 (2012): 973–78. http://dx.doi.org/10.1080/0950236x.2012.730736.

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11

Barciński, Łukasz. "Hipergeneryczne spektrum Tęczy grawitacji Thomasa Pynchona w przekładzie na język polski." Przekładaniec, no. 40 (2020): 240–59. http://dx.doi.org/10.4467/16891864pc.20.011.13174.

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The Hypergeneric Spectrum of Gravity’s Rainbow by Thomas Pynchon in Polish Translation The study deals with the issue of genre in translation with reference to the Polish rendition of Gravity’s Rainbow by Thomas Pynchon. Upon analysing the hypergeneric and heteroglottic aspect of the novel, by enumerating the possible classifications of the novel’s genre and facets of language variety, the study offers a new perspective on genre classification from the vantage point of Jacques Derrida’s philosophy, namely by the introduction of the term quasi-transcendental as the name of a superordinate genre, which could include not only Pynchon’s but also Derrida’s works. The recreation of a genre defined in this way in the act of translation consists in determining the pivotal elements in the text, which activate the process of signification concerning chains of binarities in Gravity’s Rainbow, i.e. the motifs of “interface” and “linearity” (related to the motif of “fold”, which could also become a diagrammatic model for the whole quasi-transcendental genre). Finally, the study offers conclusions as to the theory and practice of translation of higher-order genres such as the one posited herein.
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12

Song, Jialu. "Tyrone Slothrop and Roger Mexico: Anti-Heroes in Gravity’s Rainbow." Scholars International Journal of Linguistics and Literature 7, no. 06 (2024): 172–75. http://dx.doi.org/10.36348/sijll.2024.v07i06.001.

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Black humor emerged as a distinctive fictional genre in the United States in the 1960s. In the creative process, novelists tend to emphasize the unique charm of this genre through the portrayal of anti-heroes. Thomas Pynchon is a forerunner in American black humor novels during the 1960s and 1970s, and his masterpiece Gravity’s Rainbow is an outstanding example of this genre. This article focuses on two representative anti-heroes in Gravity’s Rainbow, Tyrone Slothrop and Roger Mexico. Through a thorough analysis of Pynchon’s humorous descriptions of the difficulties faced by these two characters, the black humor characteristics of this novel are interpreted, and readers can gain a deeper understanding of Pynchon’s creative style and the essence and appeal of black humor.
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13

Slade, Joseph W., and Dwight Eddins. "The Gnostic Pynchon." South Atlantic Review 57, no. 1 (1992): 149. http://dx.doi.org/10.2307/3200359.

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14

Britto, Paulo Henriques. "Traduzir Thomas Pynchon." Novos Estudos - CEBRAP, no. 72 (July 2005): 227–31. http://dx.doi.org/10.1590/s0101-33002005000200015.

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15

Hume, Kathryn, and Dwight Eddins. "The Gnostic Pynchon." American Literature 63, no. 2 (1991): 358. http://dx.doi.org/10.2307/2927192.

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16

Mohammadi, Marjan. "Calvin's Preterition and Pynchon's Salvation." Comparative Critical Studies 14, no. 2-3 (2017): 269–88. http://dx.doi.org/10.3366/ccs.2017.0239.

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In the monster novel Gravity's Rainbow (1973), one of Thomas Pynchon's many disappearing characters prophetically announces: ‘somewhere, among the wastes of the World, is the key that will bring us back, restore us to our Earth and to our freedom’ (p. 394). Then, if anything it is ‘the wasted’, ‘the passed over’, and ‘the preterite’ that hold Pynchon's scattered narrative together. This essay focuses on the devastating proliferation of waste, the rise of technology in human affairs, and their relationship to the idea of salvation in Pynchon's work. To reflect on this link, it investigates the Calvinist rhetoric of preterition (nonelection to salvation) and its influence on contemporary US culture through Pynchon's work. First, it studies Calvin's concept of preterition and how it becomes connected to the wasted (disregarded, passed over, or used up); and second, based on Calvin's conception of preterition, it goes on to explore how the proliferation of waste in the contemporary America portrayed by Pynchon is the outcome of the capitalist economic system and its reliance on technology that converges with secularization and modernity.
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17

Barciński, Łukasz. "The Intricacies of the Postmodern Convention – Thomas Ruggles Pynchon in Polish Translation." Ad Americam 18 (January 30, 2018): 5–15. http://dx.doi.org/10.12797/adamericam.18.2017.18.01.

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The article presents the prominent figure of the contemporary American writer, Thomas Ruggles Pynchon, a leading representative of the postmodern literary convention. The study contains a brief introduction of his works, with a special focus on the canonical novel for the postmodern convention i.e. Gravity’s Rainbow. The study will also apply McHale’s concept of ‘ontological dominant,’ which aptly describes the shift from epistemological issues to existential ones occurring from modernist to postmodernist literature. Subsequently, the article discusses the main aspects of Pynchon’s literary works and e.g. the presumed mode of reading i.e. ‘creative paranoia,’ encyclopaedicity and the interpretatively inconclusive binarities. Then, two fragments from Gravity’s Rainbow in Polish translation are analyzed in terms of the preservation of the source text sense productive potential according to Venuti’s theory of ‘foreignization.’ Finally, the study offers conclusions related to the reasons as to why there seem to be considerable deficiencies in the Polish rendition of Pynchon’s novels, attributing this fact to the lack of an equivalent literary convention in the Polish literary environment.
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18

Misztal, Arkadiusz. "Dream Time, Modality, and Counterfactual Imagination in Thomas Pynchon’s Mason & Dixon." Polish Journal for American Studies, no. 14 (Spring 2020) (December 1, 2020): 39–57. http://dx.doi.org/10.7311/pjas.14/1/2020.03.

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This paper elucidates the structure and scope of Pynchon’s temporal imagination by studying the complex relations between narrative time and modality in his 1997 novel Mason & Dixon using the conceptual framework of contemporary narratology. It argues that Pynchon’s use of the subjunctive mode allows him not only to articulate the political and ideological concerns in his vision of America on the eve of its founding but also to address the problems of historicity, causality and irreversibility of time. By employing the subjunctive as a general narrative strategy, Mason & Dixon challenges the various temporal regimes and discourses of modernity, and projects imaginative re-figurations of time and space. In carrying this out, the novel moves beyond what Pynchon calls “the network of ordinary latitude and longitude” (Against the Day 250) and replaces a totalizing singularity with plurality of times and timescapes
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19

Chagas, Pedro Dolabela. "A visão da história europeia em O arco-íris da gravidade, de Thomas Pynchon." Eutomia 1, no. 22 (2018): 307. http://dx.doi.org/10.19134/eutomia-v1i22p307-324.

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Resumo: Apresentação panorâmica da história europeia em O arco-íris da gravidade, de Thomas Pynchon. Três referências temporais são empregadas na análise: o período 1875-1914, entendido como o apogeu da influência cultural e política da Europa sobre o restante do mundo; 1945, momento de inflexão definitiva daquela história anterior; 1973, ano de publicação da obra de Pynchon. Enquanto as duas primeiras datações abrangem elementos ficcionalizados no enredo, a última cobre o momento em que a Europa era colocada em perspectiva pelo autor, um observador estadounidense. Na confluência dessas perspectivas, delinea-se um elemento central na ficcionalização pynchoniana da história moderna: a transição do sistema-mundo ocorrida no período de escrita da sua obra mais célebre.Palavras-chave: O arco-íris da gravidade; Thomas Pynchon; história europeia; história moderna
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20

Holdsworth, Carole. "Cervantine Echoes in Early Pynchon." Cervantes 8, no. 1 (1988): 47–53. http://dx.doi.org/10.3138/cervantes.8.1.047.

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El novelista norteamericano Thomas Pynchon escribió el cuento “Low-lands” (publicado 1960) cuando era estudiante en la universidad de Cornell. A mi parecer, hay marcadas resonancias de Cervantes en este cuento posiblemente influido por la interpretación del Quijote de V. Nabokov, uno de los profesores de Pynchon. Como don Quijote, el protagonista Flange decide buscar aventuras. Aburrido de su vida respetable y mal comprendido por su mujer, Flange sale de su casa acompañado del grosero marinero Pig Bodine, antiguo compañero suyo que se parece un poco a un Sancho degenerado. Una noche el soñador Flange obedece a la llamada de una hermosa “gitanilla” y desciende con ella a un basurero misterioso, para soñar despierto sus ensueños, como don Quijote en la cueva de Montesinos. En contraste, sin embargo, con el desenlace desengañado del Quijote, el joven Pynchon cierra su cuento con Flange perdido en un mundo fantástico, prefiriendo jugar a la vida con la pequeñita Nerissa.
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21

Bersani, Leo. "Pynchon, Paranoia, and Literature." Representations 25, no. 1 (1989): 99–118. http://dx.doi.org/10.1525/rep.1989.25.1.99p0264s.

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22

Bersani, Leo. "Pynchon, Paranoia, and Literature." Representations 25 (January 1, 1989): 99–118. http://dx.doi.org/10.2307/2928469.

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23

Battesti, Anne. "Comment lire... Thomas Pynchon." Cahiers Charles V 47, no. 1 (2010): 13–38. http://dx.doi.org/10.3406/cchav.2010.1546.

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24

Battestini, Anne. "Pynchon : voix, lieux communs." Revue Française d'Etudes Américaines 54, no. 1 (1992): 365–76. http://dx.doi.org/10.3406/rfea.1992.1832.

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25

Cowart, David. "Pynchon and the Sixties." Critique: Studies in Contemporary Fiction 41, no. 1 (1999): 3–12. http://dx.doi.org/10.1080/00111619909601574.

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26

Young, John K. "Pynchon in Popular Magazines." Critique: Studies in Contemporary Fiction 44, no. 4 (2003): 389–404. http://dx.doi.org/10.1080/00111610309598891.

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27

Barrenechea, Antonio. "Thomas Pynchon, Literary Giant." American Book Review 37, no. 2 (2016): 5–6. http://dx.doi.org/10.1353/abr.2016.0002.

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28

Schechter, Joel. "Pynchon Opens Nature Theater." Theater 26, no. 1_and_2 (1995): 180–81. http://dx.doi.org/10.1215/01610775-26-1_and_2-180.

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29

Collado-Rodríguez, Francisco. "Rise of the living dead in Thomas Pynchon’s “Vineland”." Journal of English Studies 14 (December 16, 2016): 95. http://dx.doi.org/10.18172/jes.2858.

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Oedipa Maas’s anti-categorical revelation that middles should not be excluded in Pynchon’s The Crying of Lot 49 is understood by its author in more debatable terms two decades later, once it is clear that the 1960s struggles for revolution have come to a stop. In 1990 the literary space of Vineland is revealed as a failed refuge where Pynchon ironizes on the notion of balance by portraying a living dead icon represented by the Thanatoids. As predicted in The Crying of Lot 49, all sorts of simulacra have taken over 1980s California to propitiate a coming back to conservative ideology. In Vineland, the new icon is cunningly associated to magical realism, a hybrid mode that points to the writer’s concern with anti-categorical middles but also with the ultimate impossibility to fulfill Oedipa’s alleged revelation. Thus, the iconic living dead become a bleak intratextual response to the purportedly optimistic social views of Pynchon’s second novel.
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30

Radchenko, Simon. "Bleeding Edge of Postmodernism: Metamodern Writing in the Novel by Thomas Pynchon." Interlitteraria 24, no. 2 (2020): 495–508. http://dx.doi.org/10.12697/il.2019.24.2.17.

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Many different models of co ntemporary novel’s description arose from the search for methods and approaches of post-postmodern texts analysis. One of them is the concept of metamodernism, proposed by Timotheus Vermeulen and Robin van den Akker and based on the culture and philosophy changes at the turn of this century. This article argues that the ideas of metamodernism and its main trends can be successfully used for the study of contemporary literature. The basic trends of metamodernism were determined and observed through the prism of literature studies. They were implemented in the analysis of Thomas Pynchon’s latest novel, Bleeding Edge (2013). Despite Pynchon being usually considered as postmodern writer, the use of metamodern categories for describing his narrative strategies confirms the idea of the novel’s post-postmodern orientation. The article makes an endeavor to use metamodern categories as a tool for post-postmodern text studies, in order to analyze and interpret Bleeding Edge through those categories.
 
 
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31

Barciński, Łukasz. "“Orders Behind the Visible” – Puritan Elements in the Polish Translation of "Gravity’s Rainbow" by Thomas Pynchon." Ad Americam 19 (February 8, 2019): 103–11. http://dx.doi.org/10.12797/adamericam.19.2018.19.07.

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The article discusses contemporary American writer Thomas Ruggles Pynchon, a leading representative of postmodernism in literature. The study contains an examination of possible references to Puritanism in his novel, Gravity’s Rainbow. Religious motifs seem to play a crucial role in the interpretation of Pynchon’s work where the past is combined with the present and the Puritan religious doctrine merges with a paranoid approach to reading. Then, fragments from Gravity’s Rainbow in Polish translation are analyzed in terms of preserving the source text’s productive potential regarding the most important Puritan themes in the novel, e.g. animal symbolism and the doctrine of Preterition. Finally, the study offers conclusions related to the extent to which Puritan elements are recreated in the target text, highlighting the most considerable losses and gains in the translation process.
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32

Klinkowitz, Jerome, Brooke Horvath, and Irving Malin. "Pynchon and 'Mason & Dixon'." Modern Language Review 98, no. 2 (2003): 451. http://dx.doi.org/10.2307/3737847.

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33

Brown, Donald, Hanjo Berressem, John Dugdale, et al. "A Pynchon for the Nineties." Poetics Today 18, no. 1 (1997): 95. http://dx.doi.org/10.2307/1773234.

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34

Davis, Robert Murray. "Inherent Vice by Thomas Pynchon." World Literature Today 84, no. 2 (2010): 70–71. http://dx.doi.org/10.1353/wlt.2010.0296.

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35

Mercier, Christophe. "Littérature étrangère : Pynchon et Batchelor." Commentaire Numéro 56, no. 4 (1991): 839–40. http://dx.doi.org/10.3917/comm.056.0839.

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36

Varsava, Jerry A. "Thomas Pynchon and Postmodern Liberalism." Canadian Review of American Studies 25, no. 3 (1995): 63–100. http://dx.doi.org/10.3138/cras-025-03-05.

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37

Veggian, H. "Thomas Pynchon Against the Day." boundary 2 35, no. 1 (2008): 197–215. http://dx.doi.org/10.1215/01903659-2007-032.

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38

Marcó del Pont, Xavier. "Thomas Pynchon and American Counterculture." Textual Practice 32, no. 1 (2017): 188–90. http://dx.doi.org/10.1080/0950236x.2017.1405629.

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Parks, John G. "Book Review: The Gnostic Pynchon." Christianity & Literature 40, no. 3 (1991): 316–17. http://dx.doi.org/10.1177/014833319104000317.

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SIMONS, JON. "Postmodern paranoia? Pynchon and Jameson." Paragraph 23, no. 2 (2000): 207–21. http://dx.doi.org/10.3366/para.2000.23.2.207.

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William E. Engel. "Darkness Visible: Pynchon at Seventy." Sewanee Review 116, no. 4 (2008): 660–66. http://dx.doi.org/10.1353/sew.0.0093.

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Herman, Luc, Robert Hogenraad, and Wim van Mierlo. "Pynchon, postmodernism and quantification: an empirical content analysis of Thomas Pynchon’s Gravity’s Rainbow." Language and Literature: International Journal of Stylistics 12, no. 1 (2003): 27–41. http://dx.doi.org/10.1177/096394700301200102.

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Thomas Pynchon’s Gravity’s Rainbow (1973) has been received as a canonical instance of postmodernism. The novel appears to subvert traditional definitions of plot and characterization, yet the narrative retains a nagging sense of order underneath the represented chaos. Simultaneously evoking and undoing patterns on all levels of its narrative structure, Gravity’s Rainbow surreptitiously evokes the presence of a night journey (Martindale, 1979). An empirical content analysis of the novel confirms this ambiguous attitude with respect to patterning in the novel, and thus constitutes a first and modest step towards the quantification of postmodernism. First, a thematic analysis, calculating the co-variations of words across the chapters, corroborates the idea of a connectedness that seems to belie, in part, the pervasive presence of a paranoid hermeneutic. Second, a dictionary-based analysis of narrative sequences reveals an inverse night journey pattern that differs markedly from other patterns found for modernist novels. The configurations that were obtained in these analyses show that content analysis can distinguish empirically between two literary - historical concepts.
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Chagas, Pedro Dolabella. "A visão da história americana em O arco-íris da gravidade, de Thomas Pynchon." Eutomia 1, no. 23 (2019): 330. http://dx.doi.org/10.51359/1982-6850.2019.243430.

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Apresentação panorâmica da ficcionalização da história americana em O arco-íris da gravidade, de Thomas Pynchon. Três referências temporais são empregadas na análise: o período entre 1620 e 1776, fundação do ideário político e religioso que determinaria a autoimagem do país; 1945, momento de glorificação daquela autoimagem; 1973, ano de publicação da obra de Pynchon. Enquanto as duas primeiras datações abrangem elementos ficcionalizados no enredo, a última cobre o momento em que os EUA eram colocados em perspectiva pelo autor, em sua posição marginal na cultural nacional. Na confluência dessas perspectivas, delinea-se um elemento central na ficcionalizaçãopynchoniana da história moderna: a transição do sistema-mundo ocorrida no período de escrita da sua obra mais célebre.
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III, Robert J. Wilson, Carl Bridenbaugh, Juliette Tomlinson, and John Pynchon. "The Pynchon Papers, Volume 2: Selections from the Account Books of John Pynchon, 1651-1697." New England Quarterly 60, no. 2 (1987): 296. http://dx.doi.org/10.2307/365616.

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Weisenburger, Steven. "Thomas Pynchon: Allusive Parables of Power, and: The Gnostic Pynchon (review)." MFS Modern Fiction Studies 37, no. 2 (1991): 271–73. http://dx.doi.org/10.1353/mfs.0.0746.

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Di Vilio, Antonio. ""Inherent Vice": Thomas Pynchon beyond the Postmodern Fiction and Anti-Detective Novel." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 47, no. 2 (2020): 283–94. http://dx.doi.org/10.36770/bp.483.

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This article analyzes the development of noir genre in Inherent Vice written by Thomas Pynchon in 2009. In fact, this novel seems to be a time of reflection about all shifts and changes of detective fiction, starting from the Californian hard-boiled school and the postmodern anti-detective fiction to the contemporary noir. In Inherent Vice Pynchon shows his awareness and considerations about the genre tradition – to which some of his novels such as The Crying of Lot 49 belong– playing out a thought-provoking parodic representation of the detective story and its doom. This paper aims to decrypt the meaning of the references that Inherent Vice contains about noir genre and to detect what is the position of the author in writing this novel.
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Safer, Elaine B., and Deborah L. Madsen. "The Postmodernist Allegories of Thomas Pynchon." Yearbook of English Studies 24 (1994): 346. http://dx.doi.org/10.2307/3507950.

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Schroeder, Randy. "Inheriting Chaos: Burroughs, Pynchon, Sterling, Rucker." Extrapolation 43, no. 1 (2002): 89–97. http://dx.doi.org/10.3828/extr.2002.43.1.08.

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Mellard, James M., and David Seed. "The Fictional Labyrinths of Thomas Pynchon." American Literature 61, no. 1 (1989): 131. http://dx.doi.org/10.2307/2926542.

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Cowart, David, Alec McHoul, and David Wills. "Writing Pynchon: Strategies in Fictional Analysis." American Literature 63, no. 1 (1991): 153. http://dx.doi.org/10.2307/2926591.

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