John Barth's The Sot-Weed Factor: A Time-Image Filmic Space, Embodying Henri Bergson's Duree

مقالات آماده انتشار

نوع مقاله : مقاله علمی پژوهشی

نویسندگان

دانشگاه خوارزمی تهران

چکیده

Exploring literary works based on media theories constitutes a major part of interdisciplinary studies. Gilles Deleuze’s notions on time-image cinema, a trend dominant after the Second World War, have provided a suitable platform for investigating postmodern novels. Using his theories as well as the filmic space of John Barth’s novel The Sot-Weed Factor (1960), the present study seeks to present it as a time-image crystalline narrative. No matter from which dimension we look at a crystal, we will simultaneously see the other dimensions, as well. Therefore, according to Deleuze, crystal displays the indistinguishable continuity and unity of the real and the virtual; that is why what we see in crystal is pure time (durée). Inspired by Henri Bergson, Deleuze considers the nature of time as qualitative, rather than quantitative, and sees durée as real time that is in continuous becoming. Characteristics such as pure heterogeneity, pure quality, the fusion of moments, incompatibility with determination and identification, and innumerability can be attributed to durée, a concept independent of the linear time discussed by Immanuel Kant. Relying on concepts such as crystal-image, the blurring of the boundary between history and fiction, the power of the false, and non-linear flashback, this article considers them as appropriate tools that have already rendered The Sot-Weed Factor a time-image cinematic space, embodying pure time and making its characters and readers (spectators) immediately intuit it.

کلیدواژه‌ها

عنوان مقاله [English]

John Barth's The Sot-Weed Factor: A Time-Image Filmic Space, Embodying Henri Bergson's Duree

نویسندگان [English]

  • Shataw Naseri
  • Mohsen Hanif
Kharazmi University
چکیده [English]

Exploring literary works based on media theories constitutes a major part of interdisciplinary studies. Gilles Deleuze’s notions on time-image cinema, a trend dominant after the Second World War, have provided a suitable platform for investigating postmodern novels. Using his theories as well as the filmic space of John Barth’s novel The Sot-Weed Factor (1960), the present study seeks to present it as a time-image crystalline narrative. No matter from which dimension we look at a crystal, we will simultaneously see the other dimensions, as well. Therefore, according to Deleuze, crystal displays the indistinguishable continuity and unity of the real and the virtual; that is why what we see in crystal is pure time (durée). Inspired by Henri Bergson, Deleuze considers the nature of time as qualitative, rather than quantitative, and sees durée as real time that is in continuous becoming. Characteristics such as pure heterogeneity, pure quality, the fusion of moments, incompatibility with determination and identification, and innumerability can be attributed to durée, a concept independent of the linear time discussed by Immanuel Kant. Relying on concepts such as crystal-image, the blurring of the boundary between history and fiction, the power of the false, and non-linear flashback, this article considers them as appropriate tools that have already rendered The Sot-Weed Factor a time-image cinematic space, embodying pure time and making its characters and readers (spectators) immediately intuit it.

کلیدواژه‌ها [English]

  • Crystal-image
  • History
  • Flashback
  • Power of the false
  • Time-image Cinema
  • Durée

مراجع

  1. Barth, John. 1960. The Sot-Weed Factor. Broadway: Doubleday & Company, Inc.
  2. Barth, John and William Plumely. 1994. “An Interview with John Barth.” Chicago Review 40 (4): 6-18. Chicago: Chicago Review Press. https://www.jstor.org/stable/i25305872
  3. Beckman, Frida. 2011. “The Theatre of History: Carnivale, Deleuze, and the Possibility of New Beginnings.” SubStance 40 (2): 3-21. Wisconsin: University of Wisconsin Press.

DOI:10.1353/sub.2011.0018

  1. Bryden, Mary. 2007. Gilles Deleuze: Travels in Literature. London: Palgrave Macmillan.
  2. Clavier, Brendt. 2007. John Barth and Postmodernism: Spatiality, Travel, Montage. Lausanne: Peter Lang.
  3. Coffman, Christopher K. 2019. Rewriting Early America: The Prenational Past in Postmodern Literature. Bethlehem: Lehigh University Press.
  4. Deleuze, Gilles. 1991. Bergsonism, translated by Hugh Tomlinson and Barbara Habberjam. Prinecton: Zone Books.
  5. Deleuze, Gilles. 1997. Cinema 1: The Movement-Image, translated by Hugh Tomlinson and Barbara Habberjam. Minneapolis: University of Minnesota Press.
  6. Deleuze, Gilles. 1997. Cinema 2: The Time-Image, translated by Hugh Tomlinson and Barbara Galeta. Minneapolis: University of Minnesota Press.
  7. Deleuze, Gilles. 1993. The Fold: Leibniz and the Baroque, translated by Tom Conley. London: The Athlone Press.
  8. Deleuze, Gilles and Jonathan Strauss. 1991. “The Fold.” Yale French Studies (80): 227-247. New Haven: Yale University Press.

 http://links.jstor,org/sci=0044-0078

  1. Éigeartaigh, Aoileann Ní. 2022-2023. “Toto, I Have a Feeling We’re Not in Kansas Anymore: Borders and Borderlands in Thomas Pynchon’s Gravity’s Rainbow and Mason and Dixon.” Irish Journal of American Studies 11/12: 61-72. Cork: Irish Association for American Studies.
  2. Flaxman, Gregory. 2000. The Brain Is Screen: Deleuze and the Philosophy of Cinema. Minneapolis: University of Minnesota Press.
  3. Goodarzi, Hojat and Zahra Jannessari Ladani. 2021. “Poetry as an Event of Silence in Archibald MacLeish’s ‘ArsPoetica:’ A Heideggerian-Deleuzian Reading.” Critical Language & Literary Studies 15 (21): 55-76. Tehran: Shahid Beheshti University.
  4. Gualda, Linda Catarina. 2010. “Literature and Cinema: Link and Confrontation.” MATRIZES 3 (2): 201-220. Sao Paolo: Sao Paolo SP. http://www.matrizes.usp.bro
  5. Harris, Charles H. 1971. Contemporary American Novelists of the Absurd. Lanham: Rowman & Littlefield.
  6. Hough, Amy Suzanne. 2019. The Liquid Eye: A Deleuzian Poetics of Water in Film. Berkeley: University of California Press.
  7. Koerner, Michelle Renae. 2005. The Uses of Literature: Gilles Deleuze’s American Rhizome. Durham: Duke University Press.
  8. Mansouri, Shahriyar. 2019. “Murphy as the Prolific Narrator: Narrative as the Confluence of Deleuzian Incompossibility and Personal Construct of Memory.” Critical Language & Literary Studies 15 (21): 237-254. Tehran: Shahid Beheshti University.
  9. Markelj, Jerney. 2019. Deleuze and the Ethics of Immanence: Beyond the Illusions of Consciousness. Cardiff: Cardiff University.
  10. Martin-Jones, David. 2002. Becoming Other in Time: the Deleuzian Subject in Cinema. Glasgow: University of Glasgow Library.
  11. Patton, Paul. 2012. “Deleuze’s Political Philosophy.” Cambridge Companion to Deleuze, edited by Daniel W. Smith and Henry Somers-Hall, 198-219. Cambridge: Cambridge University Press.
  12. Pokotylo, Heather. 2006. The Film Break: Thomas Pynchon’s Gravity’s Rainbow, Gilles Deleuze’s Cinema, and the Emergence of a New History. Ottawa: Ottawa University Press.
  13. Rodowick, D.N. 1997. Gilles Deleuze’s Time Machine. Durham: Duke University Press.
  14. Shores, Corry. 2019. “The Primacy of Falsity Deviant Origins in Deleuze.” Tijschrif voor Filosofie: 81-130. DOI: 10.2143/TVF.81.1.38866545.
  15. Staes, Toon. 2010. “Qaternionist Talk: Luddite Yearning and the Colonization of Time in Thomas Pynchon’s Against the Day.” English Studies 91(5): 531-547. DOI:10.1080/0013838X.2010.488850
  16. Strandberg, Victor. 2000. “Dimming the Enlightenment: Thomas Pynchon’s Mason & Dixon.” Pynchon and Mason & Dixon, edited by Horvath, 100-111. New York: Associated University Presses.
  17. The Paris Review. 1985. New York City: The Paris Review Foundation.
نقد زبان و ادبیات خارجی

مقالات آماده انتشار، پذیرفته شده
انتشار آنلاین از تاریخ 09 آذر 1404

فایل ها

هم رسانی

ارجاع به این مقاله

آمار