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Country for miles around gone to necropolis diminishing greens were converted into paper
toilet paper, banknotes, newsprinta medium for shit, money, and the Word - the three American
truths, powering the American mobility. By metaphorically comparing the country to a
necropolis where death reigns, Pynchon implies that the essence of capitalism is exploitation
and destruction (Sroczynski, 2011). Similarly, while delivering a speech, Murrow attacks
capitalist society: We are wealthy, fat, comfortable, and complacent. The succession of
criticizing adjectives (bolded) attacks the egos of both audiences (his and films), spurring selfcritique of their ways of thinking. Beckett exposes weaknesses and imbalances of capitalism.
Pozzos inability to function independently I'd very much like to sit down, but I don't quite know
how to go about it showcases the aristocracys dependence on the lower class and their inability
to support themselves.
connotations of hopelessness and emptiness feelings pervasive in the Cold War period. Beckett
also subverts the Christian connotations of a caring God: a personal God from the heights of
divine apathia divine athambia divine aphasia. The description identifies God as careless,
imperturbable, and speechless.
Combining the analysis of Gravitys Rainbow and GNAGL results in a paramount fusion of
scientific and religious comment.
Pynchon often refers to the rocket as the Holy Text. Thus, the Rocket comes to occupy the
place of God (Comyn, 2014). In GNAGL, media has replaced religion. Murrow speaks about
television: This instrument can teach, it can illuminate; yes, and it can even inspire. Repetition
of can emphatically likens this instruments potential to that of a God.
Murrow continues, extending his commentary to Science: but it can do so only to the extent that
humans are determined to use it to those ends. Science can teach, illuminate, inspire but not
when used for destructive purposes. Television produces its own bomb ignorance and
misinformation impregnate disorientation within society. As Murrow leaves, the screen fades to
black. The audience is silent, indicative of their discomfort. The film ends in an atmosphere of
Cold War uneasiness: a tense cognitive dissonance, an intimidating awareness of the potential
which cannot be achieved if we remain in our current state.