ჯონ დოს პასოსის მანჰეტენის ტრანსფერი და კინემატოგრაფიული მგრძნობელობა

ანოტაცია

John Dos Passos’s Manhattan Transfer has long been recognized for its cine­ma­tic qualities, yet criticism has tended to treat montage chiefly as a formal analogue to film editing. Our article reconsiders the novel’s cinematic sensibility by approa­ching montage not as a stylistic borrowing from the screen but as an organizing prin­ciple through which urban space, temporality, perception, social conflict, and narra­ti­ve voice are articulated in relation to one another. Situating the novel within the broader frameworks of literature, cinema, and the visual arts that shaped Anglo-Ame­rican modernism, we argue that Dos Passos reconstitutes New York as a spatia­li­zed, kinetic textual field with fractured rhythms which register the sensory and ide­ological aspects of metropolitan life.

Through close readings of selected episodes, the article examines the novel’s re­course to rapid cutting, close-ups, panoramic views, abrupt transitions, documen­tary fragments, advertising copy, newspaper headlines, song lyrics, and shifting foca­lization. It gives particular attention to the ways in which these devices dismantle linear narrative progression, substituting for it a discontinuous structure grounded in juxtaposition, accumulation, and simultaneity, all of which are instantiated in the article through the use of textual evidence from the novel. The discussion further situ­ates Dos Passos’s technique in relation to D. W. Griffith’s discontinuous editing and the compositional logic of synthetic Cubism, while distinguishing these antece­dents from the Soviet montage practices that Dos Passos could not yet have encoun­tered while composing Manhattan Transfer. The novel’s cinematic form thus appears less as the derivative imitation of a single medium than as part of a wider modernist reconfiguration of the increasingly emerging concept of visuality.

The article also brings cinematic form into dialogue with Mikhail Bakhtin’s concept of “heteroglossia” and Ellen Esrock’s recently developed account of visual ima­gi­nation and reader response. Montage, it contends, operates acoustically and ide­olo­gically as well as visually, setting in collision the speech registers, social positions, private thoughts, public noises, and commercial idioms of the modern metropolis. The resulting layering yields a collective urban portrait that no single consciousness can fully organize. At the same time, the novel’s recurrent oscillations between po­ver­ty and affluence, anonymity and visibility, movement and stasis position the rea­der as an active participant, compelled to assemble meaning from dispersed fragments.

By conceiving cinematicity as a structural, perceptual, and social principle ra­ther than an inventory of film-like techniques, the article extends existing accounts of Dos Passos’s formal experimentation. It proposes that the distinctive achievement of Manhattan Transfer lies in its fusion of montage, sensory description, heterog­lo­ssia, and visual juxtaposition into a narrative form capable of registering the velocity, dissonance, and social stratification of early twentieth-century New York. In doing so, the analysis draws together questions usually addressed in isolation: cinematic tech­nique, urban representation, sensory perception, polyphony, and the social criti­que of modern American life. This integrated approach illuminates how formal frag­mentation becomes inseparable from the novel’s representation of class disparity, alie­nation, mobility, and collective experience. Consequently, Manhattan Transfer emerges as a pivotal experiment in American modernism, one that transforms the met­ropolis into a moving textual image while anticipating the more expansive docu­mentary strategies Dos Passos would develop in the U.S.A. trilogy.