Hamideh Vesalifallah; Roya Yaghoubi; Seyyed Shahabeddin Sadati
Abstract
Introduction This article examines the issue of consciousness in The Bone Clocks written by David Mitchell as a metamodernist novel. Specifically, this article first defines consciousness and observes the characteristics of the issue of consciousness in this new era. Then, recognizing specific modernist ...
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Introduction This article examines the issue of consciousness in The Bone Clocks written by David Mitchell as a metamodernist novel. Specifically, this article first defines consciousness and observes the characteristics of the issue of consciousness in this new era. Then, recognizing specific modernist and postmodernist characteristics of the researched work, shows how some metamodernist elements, especially in the issue of consciousness, are changed by modernist elements and to what extent these elements fluctuate between modern and postmodern eras. Rereading this novel with a metamodern perspective, the authors prove that, knowing about a person’s previous behavior leads to the prediction of his future behavior, hence, it is easy to gain awareness of his choices, which is the reason consciousness in the characters of this novel is inculcated. In this article, the authors aim to challenge metamodern theory and conclude that in this era, consciousness is predetermined, optional, and inculcated.Background of the Study David Mitchell refuses the old rules and commits to the fact that death is not the end of consciousness; quite contrary, it can emerge as a god-like, incarnated presence in another shape. Sami Paavilanin also insists on this fact in Mitchell’s novel in which he represents beings who are the incarnation of old selves. He claims that the presence of Atemorals and Horologists in this novel can defend the idea that consciousness can be relocated from one body to another. Also, metamodernist writers utilize a kind of stream of pre-consciousness to refer to the characters’ instincts, that they were aware of the consequences even before they commit to action; however, they intend to manipulate this fact. None of the previous studies in the field of metamodernism examined the roots of this pre-consciousness, though this article aims to conceptualize this very fact.Methodology Irma Mayer believes that analyzing a text, a metamodernist must redeploy between modernism and postmodernism, then decide which can offer a better solution to the problem. Oscillating among different poles and recognizing the binaries can help to evaluate the characters’ behaviors regarding consciousness. In the 2010 article ‘Notes on metamodernism’, Vermeulen and Van den Akker argue that metamodernism is a concept which “oscillates” between modernism and postmodernism and they describe it as a “structure of feeling” (101). They state that “metamodernism should be situated epistemologically with (post)modernism, ontologically between (post)modernism, and historically beyond (post)modernism” (101), which suggests that they believe it is possible to go back to modernism, while also acknowledge that modernism is something of the past. Other thoughts such as Bourdieu’s ideas on habitus and the game that each field presents to the characters, as well as Zizek’s idea of the real enlighten how the writer justifies the characters’ consciousness. Conclusion Although the consciousness of the characters in this novel appears forced, at the same time they are considered optional, because the choice is theirs from the very beginning. In this article, it was suggested that in the metamodern era, opposite poles are in flux, and unlike the postmodern era, which considered feelings and emotions to be invalid, the current era has put the mental position of the characters in relation to each other and wants to be emotional and arouse emotions. Another point that this work portrayed was that everyone has a version of reality; therefore, the characters reached their mental awareness according to what was objective for them. The external events are not unaffected and in fact, it is the external events that control the consciousness, though, at the same time it is an internal and instinctive consciousness. This pendulum-like swing between polar opposites aptly captures the mutual characteristics of both/neither dynamic.
Leili Kafi; Kian Soheil; Keihan Bahmani; Newsha Ahmadi
Abstract
Introduction: Pain as a positive phenomenon is rare in literary studies, especially in those related to Nabokov. This research, for the first time, discusses ideas of Damasio on emotions and consciousness and applies it to the character of Luzhin through close reading of the text to show how the individual’s ...
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Introduction: Pain as a positive phenomenon is rare in literary studies, especially in those related to Nabokov. This research, for the first time, discusses ideas of Damasio on emotions and consciousness and applies it to the character of Luzhin through close reading of the text to show how the individual’s lived experiences are vital in his formation of consciousness and survival. Background: Brian Boyd in his extensive biography of Nabokov contends, “In creating Luzhin, Nabokov uses his eye for psychological quirks common to us all but rarely attended to” (323). He believes Nabokov creates vivid worlds out of details that can place readers “wherever his imagination sends the shots” (324). Masing compares Luzhin with Gogol’s Bashmakhin of “The Overcoat” to conclude both are fascinated with abstract patterns, having no defense against the chills of life. Farmasi considers patterns of consciousness to be easily observable in The Defense as it engages the reader with Luzhin’s consciousness through representations of his experiences and perceptions. She believes Luzhin’s story can be read as “an allegory of the relationship between narrative patterns and experience” (40). Kalay discusses the complicated character of Luzhin and considers his escape from reality as a force to death. Boyd, in his essay on role of senses, writes: we are always embedded in experiences and Nabokov depicts them artistically multidimensional. Methodology and Argument:Antonio Damasio, the prominent contemporary neuroscientist, in The feeling of What Happens: Body and Emotion in the Making of Consciousness, focuses on emotions and consciousness. He believes consciousness and emotions are inseparable, as are embodied and embedded. Hence, emotions are not just the by-product of consciousness; but are also influential in its formation. He divides ‘self in three types of proto-self (reflection of body’s internal state), core-self (a sense of ownership to emotions) and autobiographical self (integration of memories, emotions and personal experiences into a coherent narrative). By “self” being updated, consciousness is formed in three levels of proto, core and extended. He concludes that self is not fixed and is in constant change based on experiences. Therefore, the extended consciousness which is formed in this way is able to help the individual to survive.Luzhin is presented in three interwoven phases: his childhood in which he “flinches from life's pinpricks and jagged edges (Boyd RY 326), the genius of his early youth and the final years when he is disappointed to have survived and commits suicide. Nabokov introduces a fatal pattern into his life by depicting him as a locked genius who has difficulty communicating and is driven to seclusion. For years he has just chess in mind; so, his definition of self is limited to proto-self. He lacks experiences which he needs for his core self or his autobiographical self to bestow on him identity and meaning. Based on Damasio, there grows a big gap between Luzhin and his emotions, so his “self” is not able to update itself, leading to a true formation of deep or extended consciousness. Conclusion: The character of Luzhin is studied based on the ideas of Damasio to find how emotions and consciousness work. The analysis shows when man limits the array of experiences, he is depriving himself of knowing his emotions. These emotions can update one’s self, which in turn can form one’s core consciousness. Luzhin locks himself in his loneliness and runs to the black and white world of chess. Unable to have sincere communications, he prefers to get hold of the chess board rather than managing his being. If experiences are escaped, there would remain no way out as these is no consciousness or memory at hand.