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首页> 外文学位 >THE ASSAULT ON CHARACTER IN THE NOVELS OF THOMAS PYNCHON, JOHN BARTH, JOHN HAWKES, AND WILLIAM GADDIS.
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THE ASSAULT ON CHARACTER IN THE NOVELS OF THOMAS PYNCHON, JOHN BARTH, JOHN HAWKES, AND WILLIAM GADDIS.

机译：在THOMAS PYNCHON，JOHN BARTH，JOHN HAWKES和WILLIAM GADDIS小说中对人物性格的突击。

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摘要

This dissertation analyzes the ways the characters created by Pynchon, Barth, Hawkes, and Gaddis differ from traditional characters. The first chapter explores the traditional concept of man and, by extension, of character. This concept is based on three assumptions: that the inner self can be known; that the external world is also knowable; and that the inner and outer elements interact to form a full, round individual. Accepting these assumptions, the traditional novelist relies on various devices to convey these inner and outer elements. As this study argues, however, these assumptions are being challenged and rejected by Pynchon, Barth, Hawkes, Gaddis, and others.;Chapters Three and Four discuss varieties of ontological insecurity and masking in representative works by Pynchon, Barth, Hawkes, and Gaddis. Barth's Sot-Weed Factor contains a character isolated from his inner self. Hawkes's Blood Oranges features a character isolated from the external world. Gaddis' Recognitions and Pynchon's Crying of Lot 49 offer characters isolated from both. Estranged from their true selves, such characters believe that the masks they wear are their true selves. Self-induced masks are a central concern of Hawkes's Death, Sleep and the Traveler and Barth's Giles Goat-Boy. Gaddis' JR and Pynchon's V. examine the effects of masks induced by others. Barth's End of the Road and Pynchon's Gravity's Rainbow contain characters who wear multiple masks.;Chapters Five and Six analyze the ways these novelists use traditional devices for presenting character to reflect the ontological insecurity of their characters. These novelists rely on the devices for revealing a character's inner self either to reveal the diminution of the inner self or to parody the traditional concept of the inner self. Hawkes uses psycho-narration and quoted and narrated monologue in Goose on the Grave in such a way as to suggest the reduced inner lives of his characters. By applying these same devices to animals and objects, Pynchon in Gravity's Rainbow points to the artificiality of the inner self. In Floating Opera, Barth offers an "I"-narrator who is more concerned with revealing his craft than his inner world. And while Goose on the Grave reveals the inner triad of motivation, conflict, and change in ruins, Floating Opera parodies this triad. The devices for presenting the outer world are treated similarly. Action in Sot-Weed Factor is insignificant. Dialogue in JR is noisy. Details in Hawkes's Beetle Leg either fragment the narrative or obscure it. And in Gravity's Rainbow, Pynchon parodies the objective third-person narrator by making him as deluded as the characters he speaks of.;The concluding chapter places the characters of these four novelists in perspective. Although traditional novelists of the past and the present have fashioned insecure characters, these characters differ from those of these four novelists in that the traditional characters either overcome their ontological insecurity or are shown to exist in worlds in which it can be overcome. The characters created by these four novelists and writers like them live in worlds where no one ever overcomes his ontological insecurity.;Chapter Two examines the sources of this challenge. Modern science, religion, psychology, and sociology deny the possibility that the inner self or the external world can be known. R. D. Laing offers an extensive analysis of this condition. This psychologist argues that man is ontologically insecure, isolated from his inner self and his world. What man takes to be his true self is a mask or a series of masks that he either assumes or has imposed on him by others.
机译：本文分析了品钦，巴特，霍克斯和加迪斯创作的人物与传统人物的区别。第一章探讨了人的传统概念，并扩展了性格的概念。这个概念基于三个假设：内在自我可以被了解；外部世界也是可知的；并且内部和外部元素相互作用形成一个完整的圆形个体。接受这些假设，传统小说家依靠各种装置来传达这些内在和外在的元素。然而，正如本研究所论证的那样，这些假设遭到了Pynchon，Barth，Hawkes，Gaddis等人的质疑和拒绝。第三章和第四章讨论了Pynchon，Barth，Hawkes和Gaddis在代表作品中的本体论不安全感和掩饰的变种。 。巴特的烂杂草因子包含一个与他内在的自我隔离的角色。霍克斯的血橙具有与外界隔绝的特征。 Gaddis的认可和Pynchon的《哭泣的地段49》提供了将两者隔离的字符。这些角色与他们的真实自我疏远，认为他们戴的面具是他们的真实自我。自我面具是霍克斯之死，睡眠，旅行者和巴特的吉尔斯山羊男孩的主要关注点。 Gaddis的JR和Pynchon的V.研究了其他人诱发的口罩的效果。巴特的《路的尽头》和潘钦的《重力的彩虹》包含戴着多个面具的角色。第五章和第六章分析了这些小说家使用传统装置来呈现角色的方式，以反映角色的本体论不安全感。这些小说家依靠揭示人物内在自我的装置来揭示内在自我的缩小或模仿传统的内在自我概念。霍克斯在《坟墓上的鹅》中使用了心理叙事以及引用和叙述的独白，以暗示他角色内心生活的减少。通过将这些相同的装置应用于动物和物体，《引力彩虹》中的Pynchon指出了内在自我的虚假性。在《浮动歌剧》中，巴特提供了一个“我”解说员，他更注重于展示自己的手艺，而不是内心世界。尽管《坟墓上的鹅》揭示了动机，冲突和废墟变化的内在三合会，但《浮动歌剧》却把这三合会模仿了。呈现外部世界的设备也受到类似对待。杂草因子中的作用微不足道。 JR中的对话很吵。霍克斯的《甲壳虫之腿》中的细节使叙事变得零散或模糊。在《重力》的《彩虹》中，品钦模仿了客观的第三人称叙述者，使他像他所讲的人物一样被迷住了。尽管过去和现在的传统小说家都塑造了不安全的人物，但这些人物与这四位小说家的人物不同之处在于，传统人物要么克服了本体论上的不安全感，要么被证明存在于可以克服这一本体论上的世界。这四位小说家和作家所创造的人物生活在一个没人能克服其本体论不安全感的世界中。第二章探讨了这一挑战的根源。现代科学，宗教，心理学和社会学否认可以了解内在自我或外部世界。 R. D. Laing对这种情况进行了广泛的分析。这位心理学家认为，人在本体论上是不安全的，与自己的内在自我和世界隔离。一个人要成为自己的真实自我，是一个面具，或者是别人假设或强加于他的一系列面具。

著录项

  • 作者

    GUZLOWSKI, JOHN ZBIGNIEW.;

  • 作者单位

    Purdue University.;

  • 授予单位 Purdue University.;
  • 学科 Literature American.
  • 学位 Ph.D.
  • 年度 1980
  • 页码 230 p.
  • 总页数 230
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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