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1
Cloran, Carmel. "Rhetorical unit analysis and Bakhtin’s chronotype." Functions of Language 17, no. 1 (June 30, 2010): 29–70. http://dx.doi.org/10.1075/fol.17.1.02clo.
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Bakhtin introduced the concept of chronotope (chronos = time; topos = space) to facilitate his exploration of the ways in which space-time intersections occur in literary texts. However, he also suggests that chronotopes characterise non-literary texts — indeed, that “every entry into the sphere of meaning is accomplished only through the gates of the chronotope” (1981: 258) — this historical, biographical and social time-space configuration. This formulation immediately suggests that these categories should be accessible via the categories of language and indeed, in English, they are most generally expressed via the Mood categories Subject and Finite. These same Mood categories of English are crucially involved in the identification of a unit of discourse — the rhetorical unit (Cloran 1994). Thus, this discourse unit provides a useful means of concretising, from a linguistic perspective, Bakhtin’s concept of chronotope and investigating the presence of such chronotopes in the everyday mundane discourse of mother-child interaction. Selections from such interaction are illustrations of authentic cultural chronotopes, and provide exempla of a (sub)cultural chronotopic motif within the broader culture, i.e. social positioning at a particular historical point in time (the late 20th century Australian culture).
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Burlina, E. Ya. "URBAN CHRONOTOPE – URBAN SEMIOTICS. FLORENCE AND SAINT PETERSBURG." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 22, no. 74 (2020): 77–84. http://dx.doi.org/10.37313/2413-9645-2020-22-74-77-84.
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In this paper author presents an interdisciplinary interaction betweeen semiotics and chronotopy. The paper refers to the great cities of Renaissance and the Russian cities like Saint Petersburg. As M. M. Bakhtin formulated, "genre is cultural memory". According to the author, the structural and spatiotemporal memory lies in the core not only of artistic works, but of urban structurestoo.As an instruments of structural and semiotic analysis of city, the terms of chronotope and chronotopy were coined. The followers of M. M. Bakhtin, the structuralists and the semeiologists of the Yu. M. Lotman Semiotic School now agree on this point. In 1990s, one of the founders of Russian semiotics, Yu. M. Lotman came to the conclusion that new spatiotemporal modes can crystallize and spiritually develop citizens. This concept formed the basis of the first part of the paper. The second part considers practical opportunities of semiotics and urban chronotopy in dialogue with students during classes on such humanities subjects as philosophy, global art culture, aestetics e.t.c. According to the author, urban chronotope and urban semiotics are different and complementary instruments of scientific comprehension and development of cities.
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Stone, Jonathan. "Polyphony and the Atomic Age: Bakhtin's Assimilation of an Einsteinian Universe." PMLA/Publications of the Modern Language Association of America 123, no. 2 (March 2008): 405–21. http://dx.doi.org/10.1632/pmla.2008.123.2.405.
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Mikhail Bakhtin described a novelistic world bound to the reader's point of view and perception of reality. Albert Einstein's theory of relativity justified Bakhtin's elevation of the reader to a central position in his theory of the novel. This essay examines Bakhtin's engagement with Einsteinian relativity in the context of two of his most influential contributions to critical discourse—polyphony and the chronotope. Originating in the 1920s, Bakhtin's notion of polyphony was initially an expression of his Kantian mind-set. When Bakhtin reworked his formulation of polyphony in 1963 (having already broached the topic of literary spaciotemporality with the chronotope), Einstein had replaced Kant as Bakhtin's guiding intellectual paradigm. In advocating a relativistic model to explicate the literary world, Bakhtin aligned centuries of novelistic tradition with a distinctly modern worldview. His use of the epistemological possibilities inaugurated by twentieth-century physics allowed him to interpret centuries-old texts with an insightfulness available only to a post-Einsteinian reader.
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Marievskaya, Natalia Yevgenyevna. "On the Approaches to the Formation of the Artistic Time Theory: M.M. Bakhtin, G. Deleuze." Journal of Flm Arts and Film Studies 5, no. 4 (December 15, 2013): 52–64. http://dx.doi.org/10.17816/vgik5452-64.
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The article surveys the experience of borrowing the concept of “Chrono-tope” from Relativistic Mechanics, defines the boundaries of chronotopic analysis in lit erature and cinema studies and suggests the possible ways of eliminating the difficulties in the chronotope theories of H. Bergson and G. Deleuze.
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Buda, Agata. "The idyllic chronotope in Far from the Madding Crowd by Thomas Hardy." Ars Aeterna 12, no. 1 (June 1, 2020): 1–9. http://dx.doi.org/10.2478/aa-2020-0001.
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AbstractThe paper presents the idea of the chronotope in the novel Far from the Madding Crowd by Thomas Hardy, with special attention paid to idyllic time and space. The research is mainly based on the theory of chronotopes according to Mikhail Bakhtin, who distinguishes various types and motifs within this notion. The author presents here the features of an idyllic chronotope, among them vast descriptions of nature and its connection with human life, as well as the destruction of an idyll, unhappy love and the motif of a road or path, which seems to be one of the most significant motifs in the work. The paper also presents the importance of coincidence and the sudden decisions of characters in the process of constructing the whole story of Gabriel and Bathsheba.
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Voronina, N. I. "DAYS OF M.M. BAKHTIN IN SARANSK (TO THE 125TH ANNIVERSARY OF THE THINKER'S BIRTH)." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23 (2021): 5–9. http://dx.doi.org/10.37313/2413-9645-2021-23-76-5-9.
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Subject of the article: review of the Bakhtin days in Saransk (to the 125th anniversary of the thinker's birth)". The object of the article: twenty-first century, "dialogue with a thinker" on the day of birth. Project goal: to update information about the development of Bakhtin studies in the modern world for the scientific and educational world. Methodology of work: the phenomenon of Bakhtin is unique, unique and significant. This context of studying his scientific work became possible using comparative historical, cultural-philosophical approaches, as well as the biographical method of analysis. Results of the work: consideration of Bakhtin's works, his ideas, thoughts, approaches and research methods, the meanings of his biographical chronicle, and transcripts on publications from the scientist's personal library makes it possible to build a chronotope of memory, fix the dominant literary and cultural-philosophical meanings, and identify the specifics of Bakhtin's thinking and the ideas that dominate his work. Scope of the results: the dialogue that reflects the new multi-level way of research of Bakhtin's works becomes the basis for the formation of a new scientific paradigm, in his own words, "The last word about the world is not said. Still ahead", which stimulates interest in understanding the innovative phenomena associated with the life and work of the thinker, opens up the possibility of comparative methodology in the study of the "Circle of Bakhtin" and his personality. Understanding the scientific dialogue "I and the Other", the phenomenon of polyphonism, the chronotope of culture and art in the regional and urban space, etc. it allowed us to clarify / detail the General patterns of development of Bakhtin studies. Conclusion: the scientific novelty of the project consists in a comprehensive analysis of the Round table materials related to the increasing dynamics of research on Bakhtin, the activities Of the M. M. Bakhtin Center at the N. P. Ogarev Mordovian state University, and the publication of the scientific electronic journal "Bakhtin Bulletin". In the context of Russian culture, holding such an International forum, which held a dialogue about the present and the future perspective in the study of the semantic context of M. M. Bakhtin works, is important and significant. The inclusion of these materials in scientific circulation contributes to the enrichment of scientific thought about the literary critic and philosopher M. M. Bakhtin. The conclusions presented in the scientific review are reasoned and logical.
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Cenedese, Marta-Laura. "Home and Exile in Irène Némirovsky’s Novella Les Mouches d’automne (1931)." Open Philosophy 4, no. 1 (January 1, 2021): 211–23. http://dx.doi.org/10.1515/opphil-2020-0172.
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Abstract Irène Némirovsky’s novella Les Mouches d’automne (1931. Snow in Autumn, 2007) paints an effective portrait of exile, of the longing for the lost home, and the disorientation that one feels when faced with a reality that is neither recognizable nor understandable. In this article, I analyse Némirovsky’s narrative strategies in relation to spatio-temporal phenomena. My analysis is based on the work of philosophers Mikhail Bakhtin and Gilles Deleuze: Bakhtin’s chronotope and Deleuze’s crystal-image illuminate how the novella’s dominant themes, exile and nostalgia for the home, are irreducible to the clichés of a linear narration and to the simplistic dichotomy home/exile, past/present, and here/there. Instead, Némirovsky creates a productive tension of overlapping and coalescing space- and time-frames. The philosophical framework provided by Bakhtin and Deleuze is useful to unlock and make visible how this thematic complexity is reflected in the novella’s narrative structure. Indeed, my analysis of Les Mouches’s chronotopes and crystal images illuminates Némirovsky’s innovative experimentation in the creation of time–space crossings and a/synchronies, and also contributes to extend further our understanding of Némirovsky’s place within the contemporaneous literary panorama.
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Kawamoto, Marcia Tiemy Morita. "Subverting the chronotope: the Donnie Darko (2001) case." Fórum Linguístico 17, no. 4 (December 30, 2020): 5238–46. http://dx.doi.org/10.5007/1984-8412.2020.e70764.
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This paper analyzes the film Donnie Darko (2001) by director and screenwriter Richard Kelly through the theoretical perspective of Mikhail Bakhtin’s (1981) chronotope. The latter defines it as an intermingling between temporal and spatial relations, artistically assimilated in literature (BAKHTIN, 1981), but in this study it is applied to film studies. Gilles Deleuze’s (1986, 1989) concepts of movement-image and time-image also contribute to the analysis. The film presents sequences of chronotope disruption, which are associated to the main’s characters mental state. Film techniques as parallelism, superimposition and ellipsis contribute to this break in the time and space association. Lastly, the analysis discusses Garret Stewart’s (2007) proposal that the digital cinema contributes to a disruptive cinematography, especially in relation to time-space constructions.
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Mary Bratton. "Winterson, Bakhtin, and the Chronotope of a Lesbian Hero." Journal of Narrative Theory 32, no. 2 (2002): 207–26. http://dx.doi.org/10.1353/jnt.2011.0057.
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Zou, Hang. "On Linguistic Philosophy of Mikhail Bakhtin and Hallidayan Systemic Functional Linguistics." Journal of Language Teaching and Research 9, no. 2 (March 1, 2018): 367. http://dx.doi.org/10.17507/jltr.0902.19.
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It is noteworthy that florid descriptions of interaction between linguistics and the philosophy of language are regularly inspired. In this paper, parallels have been drawn between Bakhtin’s philosophical perspectives and Hallidayan theoretical claims of Systemic Functional Linguistics (SFL). Through the analysis of Bakhtin’s theory of dialogism, heteroglossia, chronotope and metalinguistics, I argue that Hallidayan Systemic Functional Linguistic theory is compatible with Bakhtin’s philosophical perspectives to a great extent in terms of the close relations between speech genre and register, heteroglossia and appraisal theory as well as metalinguistics and metafunctions. It is safe to say that as a precursor, Bakhtin has a profound influence on socio-semioticians like Halliday who has expounded in linguistics.
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Neill, Lindsay, Nigel Hemmington, and Luca Sturny. "We’d love to turn you on: Considering Bakhtin and the music of The Beatles, ‘A Day in the Life’." Journal of European Popular Culture 10, no. 2 (October 1, 2019): 81–95. http://dx.doi.org/10.1386/jepc_00002_1.
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From the Sgt. Pepper’s Lonely Hearts Club Band album, this article re-reads The Beatles’ classic song ‘A Day in the Life’. Our re-reading uses Bakhtin’s chronotope. While ‘A Day in the Life’ was released in 1967, our chronotopic perspectives of it are timely. In using the chronotope to re-read this classic, we have developed an equation linking utterance to culture, time, history, the individual and interpretation. In those ways, our article not only reveals how texts are interpreted within socio-temporal constructs, but through our equation also shows how other texts may be understood and interpreted. Indeed, our equation explains the process of interpretation. Applied to ‘A Day in the Life’, our interpretation reveals the relevance of the songs lyric and music to contemporary understanding that transcends ways of being and becoming. That understanding also reflects The Beatles’ own change from four ordinary Liverpudlians to global mega-stars. Our interpretation of ‘A Day in the Life’ shows how, through lyric, The Beatles addressed their celebrity by reinstating their ordinariness within the music and lyric of the tune. Consequently, and while we concentrate on ‘A Day in the Life’ our article provides a wider view and understanding of how text and music combine to generate a timeless understanding of both meaning and interpretation.
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Ilivitskaya, Larisa Gennad'evna. "Diagnostic model of the city: a chronotopic approach." Человек и культура, no. 1 (January 2021): 36–46. http://dx.doi.org/10.25136/2409-8744.2021.1.33303.
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The object of this research is the city viewed as a multilayered semantic phenomenon. The needs of transdisciplinary nature determine the vector of its analysis in light of the possibility of application of diagnostic approach, which incorporates the theoretical and practical aspects, cognitive and transformative sides. The goal consists in the development of diagnostic model of the city as a cultural phenomenon. The position is defended on the limitation of classical diagnostic search applicable to the so-called city. The prospects of its research correlate with the nonclassical interpretation of diagnostics, which views it as methodology of cognition. The basic method of this research is modelling. The development of diagnostic model of the city is founded on M. M. Bakhtin’s concept of chronotope. Namely chronotope is determines as the basic parameter underlying its construct. Incorporating the spatiotemporal parameters of the city and their cultural meanings, it allows recording the temporal-topos configurations in city motion, which reflect various qualitative states of its existence, set by the past, present and future. The author offers a ternary model of the city, consisting of historical-cultural, eventful, and innovative chronotopes. The formulated conclusions indicate that the proposed chronotopes can be viewed separately or following the principle of complementarity, which allows assessing the city from the perspective effective arrangement of urban space, as well as the presence of problematic fields therein.
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Martynets, A. M. "SPATIAL MOVEMENTS AS A PLOT CREATING ELEMENT OF DIANA JONES’ FAIRY NARRATIVE “HOWL’S MOVING CASTLE”." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 220–28. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-220-228.
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The article makes an attempt of the analysis of spatial movements represented in D. Jones’ fantasy work “Howl’s Moving Castle” on the level of text plot creating. The researches into the problems of the chronotope by M. Bakhtin, N. Kopystians’ka and S. Skwarczyńska are taken into consideration.
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Bubnova, Tatiana. "Bajtín y la hermenéutica." Interpretatio. Revista de Hermenéutica 5, no. 1 (March 10, 2020): 49–68. http://dx.doi.org/10.19130/iifl.it.2020.5.1.0005.
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Bakhtinian hermeneutics did not develop as part of a specific “hermeneutic” discipline, but as an integral aspect of his philosophical anthropology based on communication. Texts,seen as the products of intentional or ethical acts, are conceived as statements that accompany parallel acts, or even constitute acts in themselves. This article aims at understanding the process through which Bakhtin developed a phenomenology of comprehension based on the interpretation of communicative acts embodied in the text, unlike traditional hermeneutics. Bakhtin’s dialogism is self-referred and oriented towards the other person speech, in a specific chronotope. The concept of carnival, a variant of the communicative process which encompasses the sacred and the profane, is also an intrinsic aspect of Bakhtin’s anthropological philosophy.
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Malkina, Viktoria Ya. "VISUAL ASPECTS OF THE CHRONOTOPE: "THE ISLAND OF ISRAEL" AND "THE ROAD TO ISRAEL" BY A. GORODNITSKY." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 9 (2020): 82–91. http://dx.doi.org/10.28995/2686-7249-2020-9-82-91.
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The paper analyzes two works by A. Gorodnitsky – the poem “The Island of Israel” (1993) and the song “The Road to Israel” (2007), from the point of view of spatial and temporal organization, as well as visual imagery, with the help of which the artistic world of works is depicted. Thus, the main purpose of the article is to analyze the visual features of the Israel chronotope in the two designated works. For this, firstly, the space, time and visual imagery in the poem and in the song are analyzed in detail. Then observations and conclusions are systematized and compared with the audiovisual representation of these works in the film by A. Gorodnitsky and N. Kasperovich “Atlantes hold the sky” (episode 14). As a result, conclusions are drawn about the peculiarities of the visual organization of the chronotope of Israel in these poems by A. Gorodnitsky, based on the concept of the chronotope of M.M. Bakhtin. The visual chronotope is primarily made of space through which time is also visible, and therefore the chronotope as a whole. Other features of the chronotope are associated with the cyclical organization of time, the combination of the past and the future, as well as the real and imaginary world of the lyric subject.
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Creese, Angela, and Adrian Blackledge. "The ‘other woman’ in a mother and daughter relationship: The case of Mami Ji." Language in Society 46, no. 2 (February 27, 2017): 185–206. http://dx.doi.org/10.1017/s0047404516000993.
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ABSTRACTThis article describes the range of discursive strategies in the socializing messages of a mother and daughter interaction. The analysis draws on the work of Bakhtin (1981) and Tannen (2007) to interrogate the role of a physically absent but discursively present sister-in-law, ‘Mami Ji’, across three speech events. Following Tannen, we show how the characterisation of the sister-in-law, Mami Ji, has chronotopic value that connects mother and daughter in the present and makes links across family histories. Through the discursive strategies of repetition, dialogue, detail, and translanguaging, ‘Mami Ji’ becomes an iconic benchmark of how not to speak, how not to dress, and how not to behave. Drawing on material from a linguistic ethnography approach, we present three discourse analyses from a much larger international project that also looked at classroom interaction and break-time conversations. The article contributes to the under-researched topic of the representation of sisters-in-law in discourse, theorises the chronotope in everyday conversation, and demonstrates how mother and daughter solidarity is achieved through opposition to another female family member. (Chronotope, linguistic involvement strategies, translanguaging, socialisation, sister-in-laws, mothers and daughters)
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Ayers, Carolyn Jursa. "AN INTERPRETIVE DIALOGUE: Beckett's "First Love" and Bakhtin's Categories of Meaning." Samuel Beckett Today / Aujourd'hui 7, no. 1 (December 8, 1998): 391–406. http://dx.doi.org/10.1163/18757405-90000109.
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From the very first sentence of "First Love", Beckett's narrator-protagonist engages the reader in an aggressive, one-sided dialogue. We might respond by bringing the voice of the narrator, and Beckett's narrative in general, into contact with the major theorizer of dialogue, Mikhail Bakhtin. Bakhtin's categories of genre suggest that Beckett's story may share strategic affinities with the menippea, while his concept of chronotope helps to clarify some of the contradictory details in the text. It is the idea of dialogue, however, with its implied surrender of power to the other that dominates the text and obsesses the narrator. In illuminating the narrator's resistance to, and regretful acknowledgement of his dialogic position in the worId, Bakhtin's words respond to and renew Beckett's.
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Osovsky, Oleg, Svetlana Dubrovskaya, and Ekaterina Chernetsova. "Social education through the lens of Bakhtinian theory." Dialogic Pedagogy: An International Online Journal 9 (September 7, 2021): R7—R16. http://dx.doi.org/10.5195/dpj.2021.440.
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A review of Bakhtin in the Fullness of Time: Bakhtinian Theory and the Process of Social Education, Edited by Craig Brandist, Michael E. Gardiner, E. Jayne White and Carl Mika. L.: Routledge. 2020. 160 p.
The review of the collection of articles Bakhtin in the Fullness of Time: Bakhtinian Theory and the Process of Social Education represents an analysis of the perspectives, main trends, and interpretations of key points, ideas, and concepts of M. M. Bakhtin in the contemporary theory and practice of Social Education.
The book’s nine chapters are grouped within three problem areas, researched by the book’s contributors. This is, in the first place, a re-establishment of those philosophical and sociological sources that trace back to the roots of Bakhtin’s early views that had defined the nature of his responses to the challenges of his time in his early philosophical texts, books about Dostoevsky and books about bildungsroman. Another field of examination is Bakhtin's late dialogue with his contemporaries. Sometimes this dialogue is active and obvious, as it happens in the situation with the latest aesthetic and literary trends in Russia at the beginning of the 1920s. Sometimes this dialogue turns out to be ambiguous, therefore researchers can only guess how to reconstruct it, basing their views on the complementarity of Bakhtin’s ideas and Lev Vygotsky or Paulo Freire’s ones.
An equally important aspect of this collection is a number of articles devoted to how Bakhtin's theory is transformed into "classroom practice", whether it concerns the use of dialogue and its capabilities in interaction with foreigners, providing educational opportunities to the most economically vulnerable segments of South African society, or communication with preschoolers in kindergarten.
The authors of the book managed to create a convincing picture of how Bakhtinian theory is becoming one of the most important elements of contemporary theory and practice of education. At the same time, not only Bakhtinian ideas, primarily the concepts of dialogue, polyphony, carnival, and chronotope, are important, but also that free polyphony, which puts into effect any creative practice.
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Terentowicz-Fotyga, Urszula. "Defining the dystopian chronotope: Space, time and genre in George Orwell’s 'Nineteen Eighty-Four'." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, no. 15/3 (December 17, 2018): 9–39. http://dx.doi.org/10.26881/bp.2018.3.01.
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The paper examines George Orwell’s Nineteen Eighty-Four as a canonical example of the dystopian novel in an attempt to define the principal features of the dystopian chronotope. Following Mikhail Bakhtin, it treats the chronotope as the structural pivot of the narrative, which integrates and determines other aspects of the text. Dystopia, the paper argues, is a particularly appropriate genre to consider the structural role of the chronotope for two reasons. Firstly, due to utopianism’s special relation with space and secondly, due to the structural importance of world-building in the expression of dystopia’s philosophical, political and social ideas. The paper identifies the principal features of dystopian spatiality, among which crucial are the oppositions between the individual and the state, the mind and the body, the high and the low, the central and the peripheral, the past and the present, the city and the natural world, false and true signs.
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Petrulionytė, Justina. "The Chronotope of City of Love: The Image of Kaunas in Lithuanian Culture." Respectus Philologicus 28, no. 33 (October 25, 2015): 41–50. http://dx.doi.org/10.15388/respectus.2015.28.33.4.
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This article discusses the image of Kaunas as a city of love, which is noticeable in different narratives: novels The Novel of Kaunas (1973) by Alfonsas Bieliauskas and Tūla (1993) by Jurgis Kunčinas, the social advertisement “Wherever I Am: Kaunas Is My Hometown” by Monika Vilčinskienė (2008) and the representative Kaunas video “Kaunas Is Sharing Love” by the Studio of Kaunas Cinema (2013). The concept of “narrative as a socially symbolic act” (Fredric Jameson) and the concept of “chronotope” (Mikhail Bakhtin) help to analyse emerging images of the city. The investigation reveals that all the narratives represent: 1) love for Kaunas, 2) a city where people are (happily or unhappily) in love, 3) personified city, which is in love. This shows the mark of love which is significant in the whole narrative of Kaunas. However, different modes of art production propose different mirages of this city. The chronotope of unhappy love is noticeable in the novels representing soviet Kaunas, while the chronotope of idyllic city is very bright in non-literary narratives representing current Kaunas.
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SCHIFFRIN, DEBORAH. "Crossing boundaries: The nexus of time, space, person, and place in narrative." Language in Society 38, no. 4 (September 2009): 421–45. http://dx.doi.org/10.1017/s0047404509990212.
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ABSTRACTRecent research on narrative has widened the scope of analysis, suggesting the value of reexamining the canonical Labovian view of the structure and function of personal-experience narrative. This article suggests that narrative is not simply a way of evoking and shaping experience in time. Rather, narrative can evoke and shape cultural “chronotopes” (Bakhtin 1981) or nexuses of time, space, and identity. To illustrate this, I analyze a narrative from an oral history related in 1972 by a young woman whose volunteer work in the mid-1960s led to the rehabilitation of a small African American enclave in a middle-class White suburb. Analysis of clause types, constructed dialogue, existential there, deixis, verb chains, and referring expressions shows that the narrative is a blend of genres evoking place as well as personal identity linked to complex coordinates of time and space, and dependent intertextually on other parts of a larger story. (Narrative, oral history, chronotope, space, place, identity, genre)*
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Beyad, Maryam Soltan, and Ehsan Kazemi. "Digging the Liminal Spaces: Chronotopic Representation of Liminality in Seamus Heaney’s North and Station Island." Anglia 138, no. 1 (March 4, 2020): 62–79. http://dx.doi.org/10.1515/ang-2020-0003.
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AbstractChallenging the established poetic idea of Ireland as a unified whole, new Irish poetry encourages a perspective toward homeland alongside with a corresponding revision of Irish subjectivity as liminality. Introduced by Homi Bhabha as a postcolonial cultural term, the idea privileges hybrid cultures and challenges solid or authentic ones. Moreover, this liminal rationale entails a corresponding chronotopic rendition, as Bakhtin intends to theorize it, whereby the notion of spatio-temporality assists the poet in rethinking the Irish identity. An archeologist shrouded as a poet, Heaney’s early work, North (1975), is an attempt to reterritorialize the Motherland while Station Island (1984) represents the deterritorialization of the land, a collection in which Heaney proposes an alternative notion of Irish identity. The present study seeks to show how Heaney’s aforementioned poetry collections manifest a transition from a patently nationalist reception of land to a tendency to liminal spaces. Hence, a critical juxtaposition of these two works bears witness to an endeavor to move beyond the solid, reductionist perspective of the unified Ireland into a state of liminality with respect to Bhabha’s idea of hybridity. Furthermore, it is argued how Bakhtin’s idea of chronotope can accommodate to the accomplishment of such a poetic project.
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Lawson, James. "Chronotope, Story, and Historical Geography: Mikhail Bakhtin and the Space-Time of Narratives." Antipode 43, no. 2 (February 10, 2011): 384–412. http://dx.doi.org/10.1111/j.1467-8330.2010.00853.x.
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Kangro, Ilze. "Uves Telkampa romāns „Tornis” – stāsts par kādu nogrimušu valsti." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 267–73. http://dx.doi.org/10.37384/aplkp.2021.26-1.267.
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Uwe Tellkamp’s novel is “a tale from a lost country” (Tellkamp), which depicts a myriad of problems in different strata of the society (intellectuals, army, artists, teachers, and scientists) in Germany a short while before and after the fall of the Berlin Wall. Applying the terms introduced by Mikhail Bakhtin, “chronotope” and “micro-chronotope”, the author has tried to describe the complex time-space of Tellkamp’s novel “The Tower”, which reveals some of the last years before the total collapse of the German Democratic Republic. The novel presents a broad gallery of characters – there are more than a hundred characters who help to mirror different layers of the society, the feelings in them, the relations among people, and “the survival strategies”. Tellkamp’s novel allows apprehending diverse associative connection with the German literature of different time periods. The novel is a multi-layered, intertextual, and instigating literary work that abounds in many associations, allusions, and symbols; a part of them is examined in this article.
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Johnson, Erica L. "Hontologie: The Chronotope of Shame in Jean Rhys’s Good Morning, Midnight." Kronoscope 13, no. 1 (2013): 28–46. http://dx.doi.org/10.1163/15685241-12341257.
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Abstract Jean Rhys’s 1939 novel, Good Morning, Midnight, is a modernist masterpiece of temporal, spatial, and linguistic fragments and collisions. This analysis begins with an application of what Bakhtin established as the mutual enmeshment in the genre of the novel of space and time, or “chronotope,” to Rhys’s novel, and goes on to identify Sasha’s primal experience of shame as the cause of temporal collapse. The mere recall of a shameful moment can ignite a blush, make the body burn—in short, erase the temporal distance between the past and the present, and Sasha exists in a state of shame so extreme that she exemplifies Bruno Chaouat’s concept of hontologie. Rhys records the violent destruction of linear time by the seismic force of the shame effect.
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Vigouroux, Cécile B. "Genre, heteroglossic performances, and new identity: Stand-up comedy in modern French society." Language in Society 44, no. 2 (April 2015): 243–72. http://dx.doi.org/10.1017/s0047404515000068.
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AbstractThis article analyses the ways in which stand-up comedy has been taken up by French comics of North and sub-Saharan African origins as a space of visibility and hearability. Following Bakhtin (1986), who argues that a genre reflects the social changes taking place in a society, I argue that such an appropriation should be considered as an important sociolinguistic fact that gives us privileged access to Hexagonal France's contemporary sociopolitical dynamics. I show that through their display of heteroglossic repertoires (viz. Maghrebi Arabic, several varieties of vernacular French, Hexagonal standard French, mesolectal African French, stylized chunks of English) comics challenge, at least symbolically, France's monoglot and highly centralized linguistic ideology. They also contribute to unsettling France's Republican model, which is marked by the institutional denial of the social and cultural diversity of the French population. The comics use heteroglossic resources to align with and disalign from multiple chronotopes associated with different social personae. From this emerges a new identity,urban,which both encompasses and transcends racial and ethnic categories. By contrast, I show that this identity is constructed through and received by the nonratified audience with ambivalence. (France, stand-up comedy, genre, urban, identity, chronotope, intertextuality.)*
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Vyrschikov, Ye G. "Ancient Indian chronotope in Pali and Sanskrit sources." Orientalistica 3, no. 4 (December 28, 2020): 1097–113. http://dx.doi.org/10.31696/2618-7043-2020-3-4-1097-1113.
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The author analyses the chronotope problem in the Ancient Indian texts written in Sanskrit (“Manu-Smriti”, “Arthashastra”, “Ramayana”, “Brihadaranyaka-Upanishad”) and Pali (“Simavisodhani”) languages. The “chronotope” is a category introduced by the Soviet scholar Mikhail Bakhtin (1895–1975). This category describes how configurations of time and space are represented in language and discourse. In particular, the author analyses the problem of the ideas of space regarding the “country” and “Kingdom” categories. The research has yielded two main results. In the first instance, the so-called “sacred space” in the ancient Indian texts is always represented in form of a square (or rectangle). It is similar to what is called a Vastu-mandala in the Vastu-Vidya, the traditional science of building and construction. In the second instance, thе so-called “sacred space” in the ancient Indian texts written in Sanskrit and Pali is associated with a set of heterogeneous phenomena: space, socium, time, etc. In a similar passage taken from the Brihadaranyaka Upanishad the author discovers a remarkable phenomenon. In describing the spatial reality, the number of times where one refers to the category of “time” is higher than that, which refers to the spatial category. This fact invites a conclusion: in ancient Indian culture, the categories of space and time are inseparable and always go together. Therefore, the ancient Indian culture definitively included a category of the chronotope. As a result of this discovery one should not any longer take into consideration the common topic of the “ atemporal” character of the ancient Indian culture.
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Ryabykh, Svitlana. "Idyllic Chronotope in Taras Prohasko’s Novel “The UnSimple”." Path of Science 7, no. 5 (May 31, 2021): 3001–5. http://dx.doi.org/10.22178/pos.70-8.
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The article focuses on the standard features of different idyllic chronotope associated with the unity of the folklore period. Emphasis is placed on the inseparability of human life from a particular place where ancestors lived and where descendants will live. In Taras Prohasko’s novel “The UnSimple”, great importance is attached to family traditions, according to which children at the age of fifteen were shown places related to family history. M. Bakhtin calls this feature the unity of place. This feature unites generations, blurs the time boundaries between the individual life of each person and different periods of the same life. The rhythmic cycle of time is demonstrated in the novel “The UnSimple” on the example of Sebastian and his Anna, who was the only possible woman in his life. In Taras Prokhasko’s novel, the opinion is affirmed that the home for most people is an idyllic place, the basis of biography and the result of existence. It is a place where a person feels protected and confident. The relationship between man and nature in work is shown idealized. Through an exaggerated image of floriculture, the author offers an alternative world in which a responsible, caring, careful attitude to the world around us prevails. It is proved that in Taras Prohasko’s novel “The UnSimple”, the landscape is both a necessary and sufficient condition for a complete human life. It was found that the most important place in T. Prokhasko’s prose is given to the epic of family places, which are the basis of the idyllic chronotope.
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Dombrauskene, Galina Nikolaevna, and Dmitrii Nikolaevich Bolotin. "Philosophical and astronomical image of space in E. Artemiev’s music for A. Tarkovsky’s “Solaris”." PHILHARMONICA. International Music Journal, no. 6 (June 2020): 20–44. http://dx.doi.org/10.7256/2453-613x.2020.6.33661.
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The authors attempt to reveal the internal interconnection of a traditional mythologem of space with the ideas of a modern astronomical reality in the music by E. Artemiev written for A. Tarkovsky’s movie “Solaris”. The mythologem of space gained its features back within the ancient worldview and formed a sort of a semiotic complex which can be considered as a combination of various symbols connected with basic natural forces, basic forms and numbers. This mythologem was embodied in various art forms, including the music of various historical epochs. Surprisingly, in contemporary culture, which has much wider knowledge of physical (astronomical) space, the ancient ideas of microcosm and macrocosm are still functioning, along with the medieval religious ideas of eternity, metaphysical searches for new spirituality, the divine-humanity of cosmism adherents, etc. Based on M.M. Bakhtin’s concept of chronotope, the authors develop the model of chronotope analysis represented in the form of a table (G. N. Dombruaskene) which allows considering the movie within a vector space, in which the main vectors - the two basic directions - are the chronometry and the chronotope. The table format demonstrates the semantic moments related to space which emerge at the crossing of the three key parameters of the movie: verbal, visual and musical. The full chronotropic, semiotic and computer-based analysis with the sonograms of music examples (D.N. Bolotin) helps to reveal in each space-related fragment of the movie the music and artistic means of expression of its philosophical and astronomical characteristics.
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Everett, Justin, and Paul Halpern. "Spacetime as a Multicursal Labyrinth in Literature with Application to Philip K. Dick’s The Man in the High Castle." Kronoscope 13, no. 1 (2013): 47–66. http://dx.doi.org/10.1163/15685241-12341258.
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Abstract We examine the narrative structure of The Man in the High Castle by Philip K. Dick. We place the novel in the context of the alternate history genre of speculative fiction. Noting its complex plot with multiple timelines, we apply the theoretical ideas of Mikhail Bakhtin and Umberto Eco and show how its chronotope, or relationship between space and time, resembles that of a multicursal labyrinth. We connect this analysis with ideas in quantum physics, particularly the Many Worlds Interpretation, and show how it explains the ambiguity of the novel’s ending, and the failure of the characters to reach their goals. In particular, the characters’ search for truth is thwarted by the existence of multiple truths in a maze of competing realities.
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Politov, A. V. "INFRA-LEVEL IN THE RELATIONSHIP OF PERSONAL AND SOCIAL CHRONOTOPOLOGY." Review of Omsk State Pedagogical University. Humanitarian research, no. 28 (2020): 40–44. http://dx.doi.org/10.36809/2309-9380-2020-28-40-44.
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The article examines the dialectics of personal and social forms of the spatiotemporal structure of human existence in the aspect of infra-level phenomena that accompany human existence. The theoretical basis of the work is the concept of the chronotope by A. A. Ukhtomsky and M. M. Bakhtin, the methodological basis is the semantic and hermeneutic analysis of works of Soviet and Russian fiction and journalism of the second half of the 20th century. In the study, human existence is revealed as a multilevel spatiotemporal configuration, the structural elements of which are, in particular, personal chronotopology (axiologically and existentially structured microcosm of human existence) and social chronotopology (supra-individual macrocosm), which are in a complex ambiguous relationship, the negative infra-level manifestations of which deform personal world and life path of a person.
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Markov, A. D. "PRODIGAL SON IN THE CITY: INTERPRETATIVE POTENTIAL OF THE IMAGE." Culture and Text, no. 43 (2020): 170–77. http://dx.doi.org/10.37386/2305-4077-2020-4-170-177.
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The transformations of the image of the prodigal son in Russian culture show a transition from the naive and idyllic atmosphere of poetry at the beginning of the XXth century to the novel detailing of the late XXh century. The image of the prodigal son as presented by S. S. Averintsev, who criticized any spontaneous fiction about the Gospel, was enriched with a number of details taken from urban imaginary in the XXth-century family novel and Pasternak’s poetry. This new form of religious fiction was justified by the approach to the novel, introduced by M. M. Bakhtin, who opposed the effects of the sublime in the idyll and the effects of the beautiful in the family romance. The story of the prodigal son then explicates these effects, actualizing urban chronotope for a new type of cultural reflection on the Gospel parables.
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Hassanzadeh Javanian, Mohammad Reza. "Looking for heteroglossia and chronotope in New York and London: Pacino and Loncraine’s adaptations of "Richard III"." English Studies at NBU 5, no. 1 (June 1, 2019): 59–76. http://dx.doi.org/10.33919/esnbu.19.1.3.
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The relationship between a cinematic adaptation and its literary source has sparked scholarly debates in the field of adaptation studies. Developed by the Russian literary critic, Mikhail Bakhtin (1895-1975), dialogism can shed new light on the adaptation-source tie as it highlights the mutual interaction between the two sides. The present study argues that Al Pacino and Richard Loncraine’s versions of William Shakespeare’s Richard III (1593) stress such a dialogic aspect of the adaptation process. Within this dialogic framework, Pacino’s Looking for Richard (1996) establishes a heteroglossial relation with the play as it seeks to eliminate the gap between Shakespeare and the movie’s modern viewers. Loncraine’s Richard III (1995), however, is marked by a significant chronotopic strategy which situates Richard in new social and political contexts through a change in the play’s temporal and spatial elements.
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Kenniff, Thomas-Bernard. "Dialogue, ambivalence, public space." Journal of Public Space 3, no. 1 (April 30, 2018): 13–30. http://dx.doi.org/10.5204/jps.v3i1.316.
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Public space is neither a fixed thing, nor a stable concept. This paper applies the term ‘dialogue’ as a conceptual basis for the idea of public space as something that changes according to multiscalar and overlapping contexts, with use and discourse. The concept of dialogue is developed from the dialogism of Mikhail Bakhtin whose related notions of ambivalence, polyphony, heteroglossia, carnival and chronotope are used to support a dialogical understanding of public space. The paper develops this understanding by creating a parallel between Bakhtin’s dialogism and the Barking Town Square by muf architecture/art (2004-2010). Through this parallel reading, the paper suggests that design proposals for the public realm are valued propositions that suggest a particular transformation of aesthetic, ethical, social and political relations through the ordering and transformation of spatial relations. No design, no conception, and therefore no dialogue creating public space can be neutral—but inevitably takes place within a fraught dialogical context inseparable from individual positioning and responsibility. The question of boundary maintenance thus arises inevitably, and the paper examines a range of such problematic demarcations, including between public and private, typologies and flexible criteria, immediate and social contexts, and ideals and reality. Given dialogue’s condition of ambivalence and incompleteness, the paper argues that the inherent contradictions to the concept of ‘public space’ are its very conditions for existence.
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Karimzad, Farzad, and Lydia Catedral. "‘No, we don't mix languages’: Ideological power and the chronotopic organization of ethnolinguistic identities." Language in Society 47, no. 1 (December 5, 2017): 89–113. http://dx.doi.org/10.1017/s0047404517000781.
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AbstractIn this study we address ethnolinguistic identity using Bakhtin's (1981) notion of chronotope. Taking an ethnographic approach to linguistic data from Azerbaijani and Uzbek communities, we trace the impact of various chronotopes on our participants’ acts of ethnolinguistic identification. Building on Blommaert & De Fina (2017), we illustrate how ethnolinguistic identification is an outcome of the interaction between multiple levels of large- and small-scale chronotopes. Furthermore, we argue that chronotopes differ in terms of their power, depending on the ideological force behind them. We demonstrate how power differentials between chronotopes can account for certain interactional and linguistic patterns in conversation. The power inherent in chronotopes that link nationhood with specific languages makes the notions ofdiscrete languagesandstatic identities‘real’ for our participants. Therefore, discussions of language and identity as flexible and socially constructed, we argue, must not obscure the power of these notions in shaping the perceptions of sociolinguistic subjects. (Chronotope, ethnolinguistic identity, power, Uzbek, Azeri/Azerbaijani, nationalism, language mixing, language ideology)*
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Rohozha, M. М. "PHILOSOPHER IN SPACE AND TIME OF CULTURE (CHRONOTOPE OF MAÎTRE À PENSER) PART I." UKRAINIAN CULTURAL STUDIES, no. 1 (2017): 47–51. http://dx.doi.org/10.17721/ucs.2017.1.10.
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The paper deals with the research of philosophic way of life as an invariant of the Western culture. The author tries to revealthe answers to the questions: What is the influence of the time and place of life on a thinking person? Is it possible to put a question in such away? The first part of the paper gives methodological explanation for such putting the questions. Two conceptual strategies of thinking in the contemporary history of philosophy are mentioned – compartmentalismand biographical method. The latter one allows to understand philosophizing through research of maître à penser. Such approach makes possible cultural studies prospect for the life of a philosopher in the context of unique time and space. To designate the uniqueness of time and space, the category of chronotope (M. Bakhtin) is introduced in the paper. Chronotope sets condensed signs in a definite period at the result of which a unique image of a thinker is born in a definite cultural space. The Antiquity image of philosopher is Socrates. Not a biographical person but a mythologized image, Socrates entered the great time of culture and influenced on the Western civilization. Since Socrates, the philosophizing of Antiquity is considered as the spiritual exercises (P.Hadot), in which the spirit of publicity is combined with the inner dialoguewith oneself. Late Antiquity changed practical orientation ofphilosophy by contemplative one. Plotinus is considered as the example of such life style. Medieval culture transmits philosophizing from agora to the monastery, and since the 13thcentury, philosophizing came back to the city space again – tomedieval university. Two opposite images of medieval philosophers are considered, Thomas Aquinas and Siger de Brabant, who were didactic examples, full of moral content. Stories about Siger’s life were spread at once after his death as the warning from inheritance; later on hewas forgotten. Thomas Aquinas’ life is known as hagiography, didactic story free from details of private life.
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Rohozha, M. М. "PHILOSOPHER IN SPACE AND TIME OF CULTURE (CHRONOTOPE OF MAÎTRE À PENSER) PART II." UKRAINIAN CULTURAL STUDIES, no. 1 (2) (2018): 41–45. http://dx.doi.org/10.17721/ucs.2018.1(2).09.
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The paper deals with the research of philosophic way of life as an invariant of the Western culture. The author tries to reveal the answers to the questions: What is the influence of the time and place of life on a thinking person? Is it possible to put a question in such a way? The second part of the paper givse methodological explanation for such putting the questions. Two conceptual strategies of thinking in the contemporary history of philosophy are mentioned – compartmentalism and biographical method. The latter one allows understanding of the philosophizing through research of maître à penser. Such approach made possible cultural studies prospect for a philosopher’s life in the context of unique time and space. To designate the uniqueness of time and space, the category of chronotope (M. Bakhtin) was introduced in the paper. Chronotope sets condensed signs in a definite period of time at the result of which a unique image of a thinker is born in a definite cultural space. Uniqueness of time and space sets originality of philosophical quest of a thinker. Analysis of one’s philosophizing through the prism of one’s life allows us to compare proved and practiced dimensions, and affirm a status of “maître à penser”, if these dimensions are coincided. The second part of the paper is focused on the time and space of the epoch of Modernity, where public space of the city as a place of activity for a philosopher is inseparably linked to critically directed an self-organized general public. Special attention is focused on life activity of Albert Schweitzer and Hannah Arendt. The author concludes that unlike Antiquity and Middle Ages where we were focused on the images of philosophers, Modernity deals with personalities of philosophers. Schweitzer as well as Arendt personally testify to their life and philosophical practice. The point is that definite life experience according to personal philosophy is purely important moral milestone, transforming the person to worthy exemplary.
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Stamenković, Slađana S. "THE CITY, THE DESERT, THE ROAD: AMERICAN CHRONOTOPES IN DELILLO’S UNDERWORLD." ZBORNIK ZA JEZIKE I KNJIŽEVNOSTI FILOZOFSKOG FAKULTETA U NOVOM SADU 8, no. 8 (April 4, 2019): 97–108. http://dx.doi.org/10.19090/zjik.2018.8.97-108.
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In the contemporary discussion of the concept of space, there is a tendency to employ space to make a comment about the society that inhabits it. Regarding this and the prose of the contemporary American authors, the theory of Bakhtin’s chronotope may be one of the most legitimate ways to depict the society of contemporary America. In the fiction of Don DeLillo, one could discuss three typical American chronotopes: the city, the desert, and the road. The said chronotopes may be interpreted within the scopes of Bakhtin’s original chronotopes. They operate on both individual and mutually overlapping levels. In one way or the other, the American chronotopes mentioned seem to function as the ultimate Nowhere, space where the modern characters go to disappear in DeLillo’s prose.
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Koltsova, Natalia Z., and Miaowen Liu. "Gogol’s traditions in V. Kaverin’s novel “The Troublemaker, or Evenings on Vasilyevsky Island”." RUDN Journal of Studies in Literature and Journalism 25, no. 3 (December 15, 2020): 434–46. http://dx.doi.org/10.22363/2312-9220-2020-25-3-434-446.
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The novel The Troublemaker, or Evenings on Vasilyevsky Island by V. Kaverin is one of the most representative manifestations of the Russian Hoffmanian of the 1920s, as evidenced by the grotesque imagery of the novel. The very understanding of the grotesque is not limited to the Bakhtin theory, but implies a reference to the works of V. Kaiser and V. Shklovsky. Besides, it is suggested that the Saint Petersburg theme, which is relevant to the writer, is being developed under the banner of the formalist concept of literary life, as well as other ideas and theories of Russian formalism (including the theory of alienation). Kaverin succeeds in putting not only literature itself into the context of the Saint Petersburg myth, but also literature studies, which makes it possible to talk about the work as one of the brightest embodiments of the philological novel, the most important characteristic of which is the accentuated intertextual beginning. The work asserts that motives and themes, images and details, syntactic constructions, and even a composition (including a chronotope) of V. Kaverins first novel fits into Gogols system of coordinates. The Kaverins text is a construction assembled from fragments and details of Gogols text according to Gogols own rules.
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STEVENS, BLAKE. "Transpositions of Spectacle and Time: The Entr'acte in theTragédie en musique." Eighteenth Century Music 11, no. 1 (February 3, 2014): 11–29. http://dx.doi.org/10.1017/s1478570613000353.
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ABSTRACTThe entr'acte in thetragédie en musiqueis the site of compelling yet often overlooked musical and dramaturgical activity. The term refers to both spatial and musical categories: the space between acts in which rapid and potentially astonishing set changes occur and the instrumental music that accompanies these transformations. Practices in French classical tragedy established a precedent for opera; largely observing the ‘unity of place’ after 1640, spoken tragedy included brief instrumental interludes between acts while the stage remained unoccupied. These intervals punctuated the action and created suspensions in mimesis, allowing off-stage events to occur in unfixed temporal and spatial dimensions. Characterized by Mikhail Bakhtin as a ‘chronotope’ of theatrical time and space, the entr'acte exposes foundational issues concerning representation in opera and drama, including questions of illusion and the status of fictional actions and worlds. This article examines the role played by the spectator's reflection and rumination during operatic entr'actes and the use of narrative reference to shape the awareness of unseen actions presumed to transpire within them. These modes of representation and spectatorship are illustrated by Simon-Joseph Pellegrin'slivretsforJephté(1732) andHippolyte et Aricie(1733). Parodies ofHippolyte et Ariciefurther demonstrate that the possibilities of unseen action had a vital effect on the reception of thetragédie en musique.
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Marková, Ivana, and Adelina Novaes. "Chronotopes." Culture & Psychology 26, no. 1 (November 21, 2019): 117–38. http://dx.doi.org/10.1177/1354067x19888189.
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Dialogical single case studies involve mutually interdependent relations between humans in their real locations and in real time (here-and-now). Mikhail Bakhtin explored such relations in terms of chronotopes, i.e. as indivisible units serving as analytical tools for the study of dynamic processes in literature. We argue that chronotopic thinking also serves as an epistemological and ethical organising principle of human activities in daily thinking, knowing, actions and communication. This article explores different types of chronotopic thinking in dialogical single case studies, such as routines and changes; bildungsromans and heteroglossia; and values, meanings and intensities of these chronotopes in different time-scale situations. Considering ethical and dynamic interdependencies between the participants, this article suggests in what ways knowledge obtained in dialogical single case studies could be transferred (extended, generalised, resituated) to other kinds of studies.
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Macmillan, Catherine. "The Witch(ES) of Aiaia: Gender, Immortality and the Chronotope in Madeline Miller’s Circe." Gender Studies 18, no. 1 (December 1, 2019): 27–38. http://dx.doi.org/10.2478/genst-2020-0002.
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Abstract This article explores Madeline Miller’s Circe from the perspective of Bakhtin’s concept of the chronotope, the inseparability of space and time in fiction. The article focuses on the chronotopes of the road, the idyll and the threshold in the novel, and how these intersect with its themes of gender and immortality. The island of Aiaia acts as a threshold, transforming all who cross it. Circe’s life on the island, however, is a repetitive idyll; only at the end of the novel does she become a traveller on the road herself rather than just a stop on the way.
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Roberts, Graham. "Angels with Dirty Faces: Gosha Rubchinskiy and the Politics of Style." Journal of Extreme Anthropology 1, no. 3 (October 30, 2017): 18–40. http://dx.doi.org/10.5617/jea.5564.
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In many ways, twenty-first century Russia is the land par excellence of extreme masculinity. President Putin himself regularly indulges in spectacular performances of extreme masculinity, whether it be pledging to ‘bump off’ Chechen terrorists in their ‘shithouses’, swimming in ice-cold Siberian lakes, or posing in the pilot’s seat of a supersonic strategic bomber. Men’s fashion and fashion imagery is one of the rare areas of Russian culture where the kind of masculinity embodied (in a literal sense) by Putin is still challenged, and indeed subverted. Perhaps the most interesting Russian men’s fashion designer working today, certainly the designer who has engaged most persistently with political change, is Gosha Rubchinskiy. In his work he foregrounds various ‘extreme’ forms of Russian masculinity, from the angelic youth at one end of the spectrum through the brown-shirted neo-fascist adolescent, to the shaven-headed football fan at the other end. He does so, he maintains, in order to change the way Russia is perceived in the world. Indeed, if Dostoevsky once claimed that ‘beauty will save the world,’ Rubchinskiy self-consciously enlists what he refers to as the ‘beauty’ of his models in an attempt to challenge the negative image of Russia generated by western media as part of what he has called an ‘informational [sic] war’ against his native country. Borrowing concepts from Bakhtin (the chronotope, carnival) and Foucault (heterotopia), I examine Rubchinskiy’s extreme masculinities, and the questions they raise about masculinity, about the cultural relationship between Russia and the West, fashion as a discrete cultural practice, and the place and role of the fashion designer in society.
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Perrino, Sabina. "Chronotopes of story and storytelling event in interviews." Language in Society 40, no. 1 (February 2011): 91–103. http://dx.doi.org/10.1017/s0047404510000916.
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AbstractNarratives in interviews involve the alignment of two chronotopes (Bakhtin's term, literally ‘time-space’) or what has traditionally been termed the narrated and narrating events. While narrators are expected to separate the there-and-then narrated-event chronotope from the here-and-now narrating-event chronotope, tropic forms of coeval alignment exist that erase or blur the line between the two events, as if they were occurring in the same time and place. In this article I argue for the need to map these shifting alignments in interviews. This article begins with, but then moves beyond, the familiar case of the “historical present,” where narrators shift into using nonpast temporal deixis for past events. Drawing first on an oral narrative from Italy, I show how resources besides the historical present can produce similar alignment effects. In order to demonstrate more extreme forms of coeval alignment, I then compare these data with those from a Senegalese narrator in Dakar who transposes participants “into” his stories. Through this comparison I illustrate how cross-chronotope alignment reveals the way narrators manage the relationship between story and event in interviews. Mapping these shifting alignments can help illuminate the emergent relations between interviewer and interviewee and hence show how stories reflect and shape the interview context in which they occur. (Narrative, interview, chronotope, historical present, Italian, Senegal)*
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ПАНЧЕНКО, Татьяна Фёдоровна. "Рассказ И. А. Бунина «Тёмные аллеи» и стихотворение Н. П. Огарёва «Обыкновенная повесть»: интертекстуальный диалог." Известия Восточного института 47, no. 3 (2020): 31–40. http://dx.doi.org/10.24866/2542-1611/2020-3/31-40.
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Рассказ анализируется в контексте с прецедентным текстом – стихотворением Н. П. Огарёва «Обыкновенная повесть». Отмечены реминисценции на уровне названия, события встречи – расставания – воспоминания, отношения героев к двоякой природе образа «тёмных аллей». Проанализировано развитие диалектического сочетания любви и несчастья, быта и бытия. Выявлено художественное своеобразие рассказа Бунина: мотивное построение сюжета, бинарная оппозиция системы персонажей, особенность художественного времени и пространства. Доказано, что интертекстуальный диалог произведений разных литературных родов позволяет обнаружить в исследуемом произведении новые философские смыслы. The subject of the research is reminiscences of I. Bunin's short story “Dark Alleys” with N. Ogarev's poem “Аn Ordinary story”. Having considered the plot of the story, we identified a way of binary / gender opposition of the system of characters, a leitmotif and a system of accompanying motives that are implemented in other works and expand its problems. The story is analyzed in the context of a precedent text – N. Ogarev's poem “An Ordinary Story”. Reminiscences at the level of the title, events of the meeting – parting – memories, and the characters' relationship to the dual nature of the image of "dark alleys" are noted. The development of the dialectical combination of love and misery, life and being is analyzed. The author reveals the motivic structure of the plot, the binary opposition of the character system, and the chronotope. It is proved that the intertextual dialogue of works of different literary types makes it possible to discover new philosophical meanings. The methodological basis is the concept of "dialogue of cultures" developed by M. M. Bakhtin and the teaching of Y. M. Lotman about the integrity of the prose structure. It is proved that the analyzed story is characterized by a combination of epic and lyrical techniques of composition about a certain meta-genre of “Dark Alleys”.
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Kim, Cheol-soo. "Reading “Araby” through Bakhtin’s Chronotope." James Joyce Journal 23, no. 1 (June 30, 2017): 31–52. http://dx.doi.org/10.46258/jjj.2017.23-1.31.
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Azzari, Eliane Fernandes, and Rosineide de Melo. "Olhares sobre a linguagem em redes sociais e suas interfaces com a educação crítica e pluralista / Overlooking language in social networwoks and its connections with a plural and critical education." Texto Livre: Linguagem e Tecnologia 9, no. 2 (December 9, 2016): 94–113. http://dx.doi.org/10.17851/1983-3652.9.2.94-113.
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RESUMO: A mobilidade tecnológico-digital tem possibilitado a ressignificação de práticas sociais que, deslocadas para tempos-espaços outros, trazem à tona uma diversidade de suportes e gêneros – geralmente híbridos em sua natureza. O objetivo deste artigo é analisar duas postagens de redes sociais públicas sustentadas pelo Facebook, a fim de estabelecer possíveis diálogos entre os conceitos de cronotopo e arquitetônica (como eixo articulador de enunciados). Adota-se como metodologia a análise dialógica de discursos com base nas teorizações propostas por Bakhtin (1981b; 1998[1975], 2006[1929]), aportadas por uma visão pluralista e translíngue das linguagens visibilizadas nos dados, e propõe-se cogitar sua interface com a educação linguística crítica. A partir de Recuero (2009), entende-se que as redes sociais se configuram como “metáfora” das relações estabelecidas por seus participantes, sendo o Facebook um dos sistemas que apoiam essas redes. Conclui-se que, para estabelecer suas conexões, os participantes das redes sociais lançam mão da multimodalidade e multissemioticidade ao construir, curtir e compartilhar textos/enunciados permeados pela pluralidade cultural, refletindo-a e refratando-a. Por conseguinte, observa-se que os letramentos contemporâneos são constituintes de e constituídos por essas práticas, manifestando diferentes e múltiplos letramentos, (inter)conectados por hiperinterações, configurando um novo ethos. Os interlocutores observados se permitem (re)produzir e circular textos/enunciados, engajando-se discursivamente para construir sentidos compartilhados contextualmente e apontando, por vezes, para o translinguismo e suas manifestações.PALAVRAS-CHAVE: tecnologias digitais; redes sociais; educação linguística crítica; arquitetônica; translinguismo. ABSTRACT:The digital-technologic mobility has resignified social practices which – being re-located to other time-space frames – bring about a myriad of apparatus and genres, usually hybrid in its birth. The objective of this paper is to analyze two posts published in public social networks supported by Facebook, aiming at establishing possible dialogues between the concepts of chronotope and architectonic (as an articulating axis of utterances). We take as methodology a dialogic discourse analysis, based on Bakhtin´s proposed ideas (1981b; 1998[1975], 2006 [1929]). A plural and translingual approach to the languages which outcome from data sustains the analysis which questions its overlapping with critical language education. Recuero (2009) views of social media networks fundaments the understanding that they might be taken as a “metaphor” for the relationships established among their participants and assumes that Facebook takes a role of a system which supports those relations. In order to establish connections, social media participants resort to multimodality and multissemiosis as they construct, “like” and share texts/utterances that are permeated by cultural plurality, both refracting and reflecting it. Thus, contemporary literacies are constituted by as well as they constitute (themselves) those practices, within multiple and diverse literacies which are interconnected by hypertextual interactions, generating a new ethos. Those interlocutors allow themselves to (re) produce and circulate texts, engaging discursively to construct contextually shared meanings and sometimes pointing to translingualism and its manifestations.KEYWORDS: digital Technologies; social media; critical linguistic education; architectonic; translingualism.
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Bielova, Yе D. "Romance «Blacked Night» by O. Tadeush based on Sappho’s poem: dialogue in “large time”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 104–23. http://dx.doi.org/10.34064/khnum1-53.07.
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Theoretical background. According to the concept of M. Bakhtin (1986, others), every from outstanding works enters to the “large time”, where it enriches with new meanings, senses, fully revealing the subtext embedded in it. A similar dialogue occurs directly in the process of composer’s interpretation of a literary text taken as the primary basis for a musical piece. Especially this is true for the archaic literary source, since the perception of it in the distant epoch don’t coincide with the way it is perceived by contemporaries of the composer. This phenomenon is due to a new cultural and historical context, and, as a result, the literary work acquires a new semantic content adequate to the musical opus, its perception by performers and public. Thus, a composer and performers of a musical-poetic opus, recipients and scientists enter into the dialogue of the “large time”, bringing their own intellectual baggage, thesaurus, artistic perception of art. In this case, the researcher need to take into account the unique artistic synthesis that arises as a result of the interaction of words, music and the all of means of artistic expression. The proposed study is based on M. Bakhtin’s concept of dialogue, which carries out in the semiotic space of culture. M. Bakhtin views the dialogue not only as a human-to-human contact but also as an appeal to a scientific or artistic text. Analyzing the vocal miniature, one should track the individualities of the authors of literary text and the musical work, at the same time filtering the meanings of the text of the vocal miniature through the own artistic experience, grasping the dialogue in the context of cultural and historical experience and “large memory”, (M. Bakhtin’s concept). The romance “Blackened Night” is addressed to the original members – soprano and marimba duet. However, from the standpoint of the need for performing reproduction of vocal and instrumental synthesis, it is appropriate to refer to the experience of concert pianists. The purpose of the study is to define the cultural and historical context of dialogue in “large time”, which determines the content-semantic areas of gravity between the word and music in the composer’s, performer’s interpretation and perception of the romance «Blackened Night» by Oksana Tadeush. Methods. The methodological basis of the study is the communicative model of the “large dialogue” (M. Bakhtin), which is carried out in the time-space (chronotope, according M. Bakhtin) and is based on the “large memory” of culture. On the other hand, the study used the methodology of interpretative performing analysis of musical works (in particular, the analytical approach by remarkable singer and researcher Ian Bostridge, 2019). The moment of coincidence of both research methodologies has been revealed: unraveling the semantic images of the opus simultaneously from the standpoint of the time of its writing and modernity, which helps to reveal the content of the cultural dialogue. Results. The study showed that the poem by Sappho is related to the «night» poetry characteristic of European culture, as well as to the symbol of Night, which the archetype of the Romantic era is. At the level of musical semantics, the connection with «night » poetry is reflected in the musical texture, since the arpeggio figures in accompaniment, as one of the texture units, is characteristic to the nocturne genre. The author concludes: the sound image of marimba corresponds best to the spirit of «night» poetry. The connection with archaic thinking is represented through the signs of monodic texture characterized for singing with the accompaniment in the Hellenistic era. Archaic origin is inherent in hemiolica (term by Yu. Kholopov, 2003): there is the scale with augmented second in the vocal part of O. Tadeush’s romance. Dialogue in “large time” was further extended by the performers on the premier of the romance (O. Velyka – soprano, and the author of this article – marimba) with the assistance of stage costumes (dresses that resemble ancient Greek tunics) that helped the communicator-interpreters to get deeper into the image. Interpreting Sappho’s «night» poetry, O. Tadeush turns to the sound image of marimba, which is the background for the heroine’s internal monologue. The dialogue not only with the author of the poetic text arises, but also with the tradition of the chamber-vocal genre in historical retrospective, as the second member of the ensemble in O. Tadeush’s romance is not the piano, but the marimba (a percussion instrument related to the piano, but at the same time unique in terms of timbre and articulation). The articulation of a percussionist who intones on the marimba should fill each sound with coloring vibration to make it expressive and meaningful, to achieve a variety of sounds of this mono-timbre instrument with helping of use of varieties touché and registers, in according with dynamics of form-building and figurative development of the work. Conclusion. To sum up, we note that in the romance «Blackened Night» Oksana Tadeush enters into dialogue with great Sappho, reproducing the world of her poems, melody and rhythm of the poetic text in the original language. The composer creates a unique artistic concept, following the laws of the chamber-vocal genre with regard to the duet of singing and instrumental voices as well as the laws of music in accordance with the current tendencies of the beginning of the 21st century, where the search for an extraordinary artistic solution is not the last argument. As a research prospect interesting the author, further clarification of the specificity of the implementation of the sound images of percussion instruments in the creativity of the composers of the Kharkiv School is suggested, taking into account the individuality of the artistic concept of each piece of music.
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Cave, Marianne. "Bakhtin and feminism: The chronotopic female imagination." Women's Studies 18, no. 2-3 (September 1990): 117–27. http://dx.doi.org/10.1080/00497878.1990.9978825.
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Jeusette, Julien. "Le chronotope de la « route moderne »." Études françaises 53, no. 3 (December 4, 2017): 169–80. http://dx.doi.org/10.7202/1042290ar.
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Guidé par le concept de « chronotope », que Mikhaïl Bakhtine applique à l’analyse de la littérature européenne, cet article pose l’hypothèse selon laquelle l’espace-temps particulier qui se déploie dans le genre du road movie à la fin des années 1960 est déjà présent dans l’un des premiers textes à rendre compte d’un voyage en automobile, La 628-E8, récit d’Octave Mirbeau, en 1907.