This article weaves together the philosophical contours of Derridean deconstruction, Baudrillardian hyperreality, and semiotic theory to interrogate the literary universes of Fyodor Dostoevsky and Thomas Pynchon. A Semiotic Descent into Hyperreality, Paranoia, and the Collapse of Meaning
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This article explores Fyodor Dostoevsky’s literary and philosophical contributions through a deconstructive lens, guided by the thought of Jacques Derrida. The aim is not to superimpose Derrida upon Dostoevsky as if one were merely a tool to decode the other, but rather to explore the dialogic potential of their proximity, where the one haunts, and is haunted by, the other.
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This article compares Dostoevsky’s reverent depiction of the human yearning for belief with Henry Miller’s scathing rejection of it. While Miller sees the search for meaning as self-deceiving, Dostoevsky honours it as a vital and dignified part of being human. The piece argues that, despite the pull of nihilism, the refusal to stop seeking meaning reveals something essential about the human spirit.
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R.D. Laing’s Knots explores the intricate and paradoxical patterns of human relationships and thought through poetic vignettes. Highlighting the self-reinforcing nature of psychological struggles, Laing illustrates how these “knots” entangle us, often preventing growth and understanding. Rooted in existential psychology, the work subtly invokes the concept of metanoia, suggesting that true transformation arises from acknowledging and embracing these paradoxes.
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Mike Hodges’ noir masterpiece, Croupier, is a taut exploration of control, loss, and identity set against the backdrop of a casino. Through the saying “hold on tightly, let go lightly”, uttered by its enigmatic protagonist, the film captures the delicate balance between ambition and detachment, crafting a narrative that is as much about gambling as it is about the gamble of life.
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This article delves into the uncharted territories of human survival, morality, and existential dread through a comparative analysis of Warlock by Oakley Hall, Blood Meridian by Cormac McCarthy, the film Sorcerer, and Been Down So Long It Looks Like Up to Me by Richard Fariña. Although set in vastly different landscapes and eras, from the lawless American West to the countercultural 1960s and the brutal South American jungle, these works converge on themes of rebellion, chaos, and the limits of human endurance. Through shared influences and resonant themes, this article unravels how each narrative confronts the human struggle for meaning in worlds that seem determined to thwart it.
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