The Ambrose of Lost in the Funhouse: A Confluence of Quantum Mechanics, Dasein, and Baroque

It has been quite a while since research in different disciplines has become widely cross-fertilized. The cultural matrix of our era has made it possible for ideas and metaphors to move across disciplines. John Barth has been one of the most-celebrated cross-disciplinary fiction writers, who has been perceptive of and receptive to breakthroughs in other disciplines to reinvigorate fiction. Despite the fact that Barth’s literary career, particularly from Lost in the Funhouse (Funhouse), coincides with the coronation of Quantum Mechanics as the regime capable of addressing reality in a more precise way, the recognition of the influence of Quantum Mechanics on Funhouse has been conspicuously absent from the critical enterprise, and the bulk of research has viewed it in the light of Poststructuralism, whose application to contemporary fiction has been exhaustible by now. Establishing the framework of the Article based on some concepts for which the Copenhagen Interpretation and the Many-Worlds Interpretation of Quantum Mechanics are famous, the present study offers a new perspective to approach the idiosyncrasies of Ambrose in the series, thereby employing an unprecedented methodology to replenish a work which has been subjected to a barrage of metafictional readings. 

The Ambrose of Lost in the Funhouse: A Confluence of Quantum Mechanics, Dasein, and Baroque Keywords:

baroque , phenomenology , Quantum mechanics , the uncertainty principle , wave-particle duality