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
