【作者】 孙艳；

【导师】 史志康；

【作者基本信息】 上海外国语大学 ， 英语语言文学， 2005， 博士

【副题名】兼评《慢慢学》、《V.》、《拍卖第49批》和《万有引力之虹》

【摘要】 托马斯·品钦是当代美国文坛最著名的后现代主义作家之一，尽管他到目前为止只发表了五部小说和一部故事集，但他的作品却很有影响力。“热寂说”或“熵定律”被广泛认为是品钦作品中使用的最重要的概念，许多评论家因而把品钦的作品局限为“热寂式文本。”近年来，在品钦的新作《葡萄园》和《梅森和狄克逊》问世之前，国外的学术界就开始淡化这种僵硬的热寂式观点，逐渐有更多的声音开始反对将“熵”作为品钦作品的基本主题。不过，在国内，对品钦作品的热寂式理解仍比较普遍。本论文试图以文化分析和文本阐述为基本方法，研究了在《慢慢学》、《V》、《拍卖第49批》和《万有引力之虹》这几部作品中，热寂学在具体语境中的比喻用法，以期阐明品钦的作品探讨的是后现代主义文学的基本主题，他的独特之处并不在于将熵概念融入文学而在于勇敢地跨越了乔伊斯时代的文学定律。 本文共分七部分。引言部分简要介绍了品钦为人所知的一些个人背景以及这些背景在他作品中的部分体现。第一章阐述了熵在热寂学和信息理论上的两个不同意义以及将二者联系起来的“麦克斯韦精灵”假想。本文将三者的关系用解构理论进行了分析。精灵假想是让两种不同意义的熵相互转化的媒介。两种熵的相互转化与解构思想的反理性、反中心等特点是一致的。熵的比喻模糊了真实与谬误的界限，这种模糊性继续发展为意义的多重性，再进一步交织成品钦经常使用的迷宫写法。 从第二章起到第五章，本文分析了熵在品钦作品中的比喻用法。第二章较为详尽地研究了品钦的短篇小说，尽管这些短篇小说还显得很幼稚，但这些清新的故事涉及了二十世纪六十年代反主流文化运动中探讨的普遍议题。其中只有《熵》用文学的形式阐述了熵的概念，以比喻主人公克里斯托对美国文化衰亡的悲观思想，但品钦间接警示了把科学定律当成绝对真理的危害。 第三章着重分析了品钦在《V》中从认识论和主体论两方面对一个侦探兼玄学故更多还原

【Abstract】 The present dissertation is a study of Thomas Pynchon’s three novels and a collection of short stories: V, The Crying of Lot 49, Gravity’s Rainbow, and Slow Learner: Early Stories. Pynchon is one of the most prominent contemporary postmodernist writers in America despite the fact that so far he has only published five fictions and a collection of stories. Entropy, a scientific concept, has been widely regarded as the most distinctive notion Pynchon employs. Many critics have rigidified his works into entropic understanding. In recent years and before he published his latest novels—Vineland and Mason & Dixon, there has been a certain amount of backing away from the strictly entropic view, and arose some arguments defying entropy as the underlying doctrine of Pynchon’s creation. But the entropic view regarding his creation is still popular in China’s academic circle. Based on textual analysis, this study tries to examine his earlier works from a cultural perspective and elaborates on the contextual and metaphorical use of the concept of entropy in his writing. On the whole, Pynchon’s writing is devoted to the themes fundamental to the postmodernist literature. Pynchon’s distinction does not lie in his fusion of entropic concept into his writing but in his novelty of presenting his favored themes through a scientific metaphor, a courageous transgression of the literary dictums prevalent at Joycean times.The Introduction explores what scarce information critics can find on Pynchon’s personal history along with traces of the resulting influence that can be detected in his writing. In Chapter One, two connotations of entropy and their connecting medium Maxwell’s Demon Hypothesis are explicated. Their relations are construed in line with the deconstructive theory. The Demon device constitutes a medium in which thermodynamic entropy and communication entropy frequently entwine and cross over into the other. Similarity between the deconstructive spirit and the interlacing of two entropies is obvious; therefore, if construed in the deconstructive theory, the更多还原