The goal of this study is to show how divinity in American culture is at the centre of Thomas Pynchon's conception of the American global universe. The researcher demonstrates how Pynchon constructs tropes from a variety of sources and applies them to the greater architecture of the American spatial space. To demonstrate this, it is necessary to illustrate how Pynchon's metaphors depict a world separate from our perceptions. The goal is to imagine how such a spatial building may be built and maintained in a work that already exists as a verbal production. As a result, three key concerns must be addressed: a) how can the spatial metaphoric representation be justified? and b) how did Pynchon deal with the metaphoric trope in his work? To reveal these flaws, the researcher looks at the concept of space and its relationship to metaphor in order to highlight the ambiguous postmodern viewpoint that blurs the border between life and art. Taking this as a starting point, the researcher will demonstrate how Pynchon's metaphor paradoxically provides a way of thinking about the literal and metaphoric. In view of the preceding findings, the ultimate conclusion is that what American metaphoric discourse has to provide is essential equivocation rather than clear revelation. The focus is on Pynchon's fictional world, with a particular emphasis on The Crying of Lot 49. The text can't decide whether metaphors can reach a reality beyond language, and, more importantly, whether the attempt to do so is insane or inspired, divine or demonic. The views on metaphor by George Lakoff and Mark Johnson are crucial since they provide the researcher with a theoretical basis for this paper.
Author(S) Details
Ramzi Marrouchi
Department of English, Faculty of Letters, Arts and Humanities, University of Manouba, Tunisia.
View Book:- https://stm.bookpi.org/STHSS-V9/article/view/5367
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