هتروتوپياهاي نوار و گفتمان فضا در رمان‌هاي خواب گران، بدرود، محبوبم و خداحافظي طولاني اثر ريموند چندلر

Noir Heterotopias and Spatial Discourse in Raymond Chandler’s The Big Sleep, Farewell, My Lovely and The Long Goodbye

ريموند چندلر در رمان‌هاي خواب گران، بدرود، محبوبم و خداحافظي طولاني با خلق فضاهاي دوگانه و متناقض، سعي دارد بازنمايي مرسوم ازمنطقه كاليفرنياي جنوبي را به چالش كشد. رمان‌هاي چندلر با استفاده ازهم‌نشيني عناصر ناهمگن، گونه‌اي خاص از ژانر نوار ميانه قرن بيستمي را به تصوير مي‌كشند كه در آن، فضا‌سازي‌هاي ادبي در تنشي معرفت‌شناسانه، به سمت توصيفات هتروتوپيك پيش‌مي‌روند. پژوهش حاضر برآن است تا با استفاده از مفهوم هتروتوپيا و تئوري توصيف گفتمان فوكويي موسوم به ديرينه‌شناسي دانش به تحليل و بررسي فضاسازي ادبي در رمان‌هاي چندلر بپردازد. ميشل فوكو هتروتوپياها (ديگرفضا) را مكان‌هايي معرفي مي‌كند كه گفتمان غالب اطراف خود را بازتاب داده ولي درعين‌حال با شرايط موجود به ستيز بر‌مي‌خيزند. فضا‌هاي داستاني فوق، ضمن آن‌كه همچون هتروتوپياها تضاد و ديگربوده‌گي را بازتاب مي‌دهند، قادرند تا تئوري ناتمام فوكو را هم غني‌تر كنند. درانتها، اين مقاله، ديگرفضاهاي ادبي توليد‌شده توسط داستان‌هاي چندلر را هتروتوپيا‌هاي نوار ناميده، و نتيجه مي‌گيرد كه فضاهاي چندلري به دنبال القاي حس تعليق و بي‌فرجامي در توصيفات مكاني خود هستند.

Using paradoxical spatializations, Raymond Chandler challenges the conventional representation of the Southern California region. The coexis tence of heterogeneous elements in Chandler’s novels depicts a particular kind of mid-twentieth- century noir genre. These literary spaces, under epis temological tensions, move toward heterotopic descriptions. Finally, this paper calls the literary other spaces produced by Chandler’s s tories Noir Heterotopias, and concludes that Chandlerian descriptions seek to induce a sense of suspense in their spatializations. Background S tudies: Since Chandler’s firs t and mos t successful novel, The Big Sleep, many critics have considered Chandler the voice of Los Angeles fiction. Furthermore, some critics have elaborated on Chandler’s particular way of describing urban spaces. Judith Freeman believes: “Chandler accurately reports all the details of the surrounding space” (qt in Kerridge 2009). On the other hand, a significant group praises Chandler for introducing Los Angeles, rather than considering him a crime writer. The present s tudy takes sides with the same group, and relying on Chandler’s descriptions, intends to read his works through a novel spatial lens. Methodology and Argument: The present article s tudies Chandler’s s tories with a space-oriented approach. In The Archaeology of Knowledge, Foucault argues that the researcher’s goal is to find small discontinuities that have interrupted knowledge evolution. Discontinuities in the discourse of space in Chandler s tories usually occur in crime scenes and heterotopic sites. The common denominator of these three s tories, which dis tinguishes them from the res t of Chandler’s works, is the combination of the dark spaces of noir fiction with heterotopic paradoxical spaces. As a result of this combination, a novel type of ‘other spaces’ is created that, while ensuring the conditions that Foucault predicted, goes beyond his initial definition. Conclusion: Acknowledging that heterotopia theory is consis tent with Foucault’s method of analyzing the discourse, the examination of Chandler’s novels reveals that the heterotopic spaces are intertwined with the dark spaces of the noir fiction. Furthermore, in the s tories, the paradoxes do not reach a climax, therefore, this s tudy sugges ts that the resulting spaces to be called noir heterotopias. Finally, since the s tories conclude with a sense of nonfulfillment, and their heterotopic tensions remain unsolved, it can be said that suspension is the key to the new social order that noir heterotopias seek in their descriptions of Southern California.