Pripovjedni postupci u djelima Tomasa Pinčona
Narrative techniques in the works of Thomas Pynchon; Повествовательны методы в произведениях Томаса Пинчона
Author
Macura, Sergej L.
Mentor
Vukčević, RadojkaCommittee members
Lopičić, Vesna
Jovanović, Aleksandra
Metadata
Show full item recordAbstract
Doktorska disertacija pod naslovom Pripovjedni postupci u djelima Tomasa
Pinčona analizira cjelokupan korpus proznih djela ovog pisca nastalih od kraja pedesetih
pa do 2013. godine: narativnu strukturu Pinčonovih osam romana i jedne zbirke
pripovijedaka, i za osnovnu metodologiju uzima obrasce iz klasične naratologije: poetiku
tačke gledišta Borisa Uspenskog, Ženetove vremenske aspekte pripovijedanja, retoriku
Vejna Buta, poglede Dorit Kon na svijest, uz enciklopedistički pristup najznačajnijem
djelu, Dugi gravitacije.
Samoj analizi prethodi uvod u najvažnije teorijske postavke naratologije iz
perioda od ruskog formalizma pa do osamdesetih godina XX vijeka, u kome se vidi da se
neke ideje stavljaju u sličnu žižu decenijama kasnije i da je teško potpuno eliminisati
uticaje jedne škole u narednoj eposi, te se međusobno nadovezuju u postulatima.
Tačka gledišta se javlja na nekoliko planova: ideološkom, frazeološkom,
prostorno-vremenskom i psihološkom, kao i na kombinovanom – stavovi lika ...i naratora
nekada se ne podudaraju i tekst pruža veće bogatstvo u procesu čitanja. U poglavlje su
uključene desetine primjera iz Pinčonove zbirke pripovjedaka, radi ujednačenije analize
tekstova iz približno istog vremena.
Analiza po Ženetu usredsređuje se na kategoriju vremena u tri Pinčonova romana,
koja kod francuskog teoretičara ima tri podvrste: poredak, trajanje i učestalost. U ovom
poglavlju opširno se raspravlja o anahronijama (analepsama i prolepsama), ahronijama,
sažecima, scenama, pauzama i elipsama, a i o trajanju i ritmu događaja u nizu.
Butov implicitni autor se nalazi ispod nivoa empirijskog autora, a iznad
pripovjedača, naratera i likova u tekstu. To je ona instanca koja svojim nevidljivim
djelovanjem omogućava pripovjedaču da se ponaša jedinstveno za svako djelo, da bude
informisaniji ili neobavješteniji, da daje širi ili uži dijapazon opšteg, ironičnog,
familijarnog ili ciničnog komentara, da stoji na bližem ili daljem odstojanju; za analitički
korpus su poslužila četiri romana.
Sljedeće poglavlje zasniva se na teoriji Dorit Kon o tri nivoa prikaza svijesti po
dubini ulaska u um likova: psihonaraciji, pripovijedanom monologu i navedenom
monologu. Za korpus su uzeti najstariji i najnoviji roman, i primjećuje se više
psihonaracije nego druge dvije tehnike, ali u drugom romanu se po zastupljenosti s njom
pripovijedani monolog skoro izjednačuje.
Posljednje poglavlje analize raspravlja o enciklopedijskim osobinama Pinčonovog
najznačajnijeg djela, i fokus proučavanja se donekle mijenja, jer prelazi sa mikroanalize
na izučavanje temeljnih prinicipa ovog složenog romana: u najkraćem, paradoksalnih
suprotnosti u haosu Drugog svetskog rata, izatkanih oko priče o detektivskom zadatku u
okupiranoj Njemačkoj.
The Ph.D. thesis entitled Narrative Techniques in the Works of Thomas Pynchon
analyses this author’s entire fictional corpus, published between the late 1950s and 2013:
the narrative structure of his eight novels and one collection of short stories, taking the
following patterns from classical narratology as its pivotal methodology: Boris
Uspensky’s poetics of the point of view, Genette’s temporal aspects of narrative, Wayne
Booth’s rhetoric, Dorrit Cohn’s views of consciousness, alongside an encyclopaedistic
approach to his magnum opus, Gravity’s Rainbow.
The analysis proper is preceded by an introduction to the major theoretical theses
from the period between Russian Formalism and the 1980s, where it is evident that
certain ideas re-emerge in focus decades later and that it is difficult to eliminate
completely the influences of one school in the ensuing age, as they complement one
another’s postulates.
The point of view occurs at several levels: the ideological, phraseological,
spati...otemporal and psychological, as well as at the combined level – the views of the
character and narrator sometimes diverge and the text offers a more pregnant reading.
The chapter includes dozens of examples from Pynchon’s short story collection, for a
more balanced analysis of texts from approximately the same time.
Genettean analysis focuses on the category of time in three novels by Pynchon to
demonstrate examples of the French theorist’s three subtypes: order, duration and
frequency. This chapter extensively discusses anachronies (analepses and prolepses),
achronies, achronies, summaries, scenes, pauses and ellipses, as well as duration and the
rhythm of events in succession.
Booth’s implied author exists below the empirical author’s level, and above the
narrator, narratee and characters in the text. That is the entity which acts imperceptibly,
allowing the narrator to behave uniquely to every new work, to be better or worse
informed, to give off a broader or narrower spectrum of general, ironic, familiar or
cynical commentary, to assume a closer or farther distance; the analytical corpus consists
of four novels.
The next chapter is founded on Dorrit Cohn’s theory of three levels of
representing consciousness according to the depth of penetration into the characters’
mind: psychonarration, narrated monologue and quoted monologue. The corpus consists
of the first and the latest novels, and one can notice more psychonarration than the other
two techniques, but in terms of frequency, narrated monologue almost comes on a par
with it in the latter novel.
The last chapter of analysis discusses the encyclopeadic features of Pynchon’s
most relevant work, and the focus of attention somewhat changes, as it shifts from
microanalysis to the study of the fundamental principles of this complex novel: in brief,
the paradoxical opposites in the chaos of World War Two, twisted around the detective
mission narrative in occupied Germany.