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Affective Rhythm and the Temporal Disjunctions of Stephen King’s The Waste Lands | ||
| مطالعات بین رشته ای ادبیات، هنر و علوم انسانی | ||
| مقاله 18، دوره 6، شماره 1 - شماره پیاپی 11، فروردین 1405، صفحه 403-429 اصل مقاله (428.23 K) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22077/islah.2026.10663.1831 | ||
| نویسندگان | ||
| Fatemeh Ghanbari1؛ Ayoub Dabiri* 2 | ||
| 1PhD Candidate in English Literature, Department of English Literature, CT.C., Islamic Azad University, Tehran, Iran | ||
| 2Assistant Professor, Department of English, Ab.C., Islamic Azad University, Abhar, Iran | ||
| چکیده | ||
| This article reads Stephen King’s The Waste Lands through affect theory, drawing primarily on Brian Massumi’s account of affect as intensity, something that emerges in the body before it emerges in cognition or interpretation. From this perspective, the article argues that sensation in The Waste Lands is not a secondary layer of meaning but it is one of the principles through which meaning begins to form. In King’s Mid-World, bodies often respond before minds can understand. Pressure, vibration, hesitation, and sudden stillness shape how characters usually experience time, danger, and action. Drawing on Massumi’s understanding of affect as a pre-cognitive force, the article develops the concept of affective rhythm to describe how patterned intensities organize perception and behavior in the novel. At certain moments, this approach also touches on Deleuze’s reflections on time, where disrupted action allows duration and sensation to appear more directly. Rhythm does not simply occur with events; it directs attention, delays explanation, and makes survival uncertain. The article shows how King repeatedly creates moments in which understanding occurs late. Characters do not act based on what they know, but they act based on what they feel and then knowledge follows, if it comes at all. Thus, The Waste Lands does not invite complete interpretation. It asks, instead, for a gradual attunement to a world whose meanings remain unstable. Based on Massumi’s affect theory, The Waste Lands emerges as a narrative guided by sensation, where rhythm becomes both a fragile continuity and a way of knowing. | ||
| کلیدواژهها | ||
| Affect؛ rhythm؛ temporality؛ Stephen King؛ The Dark Tower | ||
| مراجع | ||
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آمار تعداد مشاهده مقاله: 559 تعداد دریافت فایل اصل مقاله: 190 |
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