首页> 外文期刊>Journal of Literature and Science >Review of David Letzler’s “Cross-Up Disciplinarity: What Norbert Wiener, Thomas Pynchon, and William Gaddis Got Wrong about Entropy and Literature
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Review of David Letzler’s “Cross-Up Disciplinarity: What Norbert Wiener, Thomas Pynchon, and William Gaddis Got Wrong about Entropy and Literature

机译:大卫·莱兹勒(David Letzler)的“交叉学科:诺伯特·维纳(Norbert Wiener),托马斯·品钦(Thomas Pynchon)和威廉·加迪斯(William Gaddis)对熵和文学的理解有误”的评论

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David Letzler's 2015 article seeks to look at the function of entropy in fiction, particularly in the works of Thomas Pynchon and William Gaddis. This might seem a rather banal way to begin this review, but it is worth mentioning due to the position of entropy as a thematic concern in Pynchon criticism. The cornerstone of first wave Pynchon criticism, entropy formed the backbone of early studies from key critics, such as Mendelson, Hite and Tanner, and still informs the basic critical framework for texts like V. and The Crying of Lot 49. In a scholarship that treats entropy as a kind of "heritage study," Letzler attempts to reconsider the position of entropy in postmodern literature by highlighting the technical errors made by both the authors and the critics, and addresses how this older theme can be redefined and used again to approach Pynchon from a fresh angle
机译:戴维·莱兹勒(David Letzler)在2015年的文章旨在探讨熵在小说中的作用,特别是在托马斯·平钦(Thomas Pynchon)和威廉·加迪斯(William Gaddis)的作品中。这可能是开始审查的一种平庸的方式,但是值得一提的是,因为熵在Pynchon批评中是主题关注的位置。熵是第一波Pynchon评论的基石,它是Mendelson,Hite和Tanner等主要评论家进行早期研究的基础,仍然为V.和The Crying of Lot 49等文本提供了基本的批判框架。莱兹勒将熵视为一种“遗产研究”,通过强调作者和评论家都犯下的技术错误,莱兹勒试图重新考虑熵在后现代文学中的地位,并探讨如何重新定义和使用这种较旧的主题全新角度的Pynchon

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