By Nele Bemong, Pieter Borghart, Michel De Dobbeleer, Kristoffel Demoen, Koen De Temmerman, Bart Keunen
This edited quantity is the 1st scholarly tome solely devoted to Mikhail Bakhtin’s concept of the literary chronotope. this idea, firstly built within the Thirties and used as a body of reference all through Bakhtin’s personal writings, has been hugely influential in literary reports. After an extensive
introduction that serves as a ‘state of the art,’ the quantity is split into 4 major elements: philosophical reflections, relevance of the chronotope for literary historical past, chronotopical readings and a few views for literary thought. those thematic different types comprise contributions by means of well-established Bakhtin experts comparable to Gary Saul Morson and Michael Holquist, in addition to a few essays via students who've released in this topic sooner than. jointly the papers during this quantity discover the consequences of Bakhtin’s idea of the chronotope for quite a few theoretical subject matters corresponding to literary mind's eye, polysystem thought and literary model; for contemporary perspectives on literary heritage starting from the hellenistic romance to nineteenth century realism; and for analyses of recognized novelists and poets as various as Milton, Fielding, Dickinson, Dostoevsky, Papadiamandis, and DeLillo.
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Extra info for Bakhtin's theory of the literary chronotope : reflections, applications, perspectives
His rejection of Kantian transcendence is Bakhtin’s way of defining another version of the subject who – or which – is the ground zero of perception, the experimental laboratory where understanding is produced. That is, like Kant, he sees time-space as defining of the knowing subject. But Bakhtin differs from Kant in understanding the nature of the subject so defined. Obviously, much hangs on how we interpret “transcendence”, so it is well to remember that it is a term that Kant uses in many different contexts.
Not all passages, however, are arranged in this way. Some are contemplative or offer dry information; others, however, are suitable for transmitting experiential qualities. This is why the concept of the chronotope is a revolutionary category in the study of literature. It is the ideal concept for those literary passages in which lived time occupies a central position, the most adequate term to designate the experience of change we go through when we are reading a book. In some parts of his essays on the concept of the chronotope, it is clear that Bakhtin associates chronotopes with a temporal experience that is also central to Bergson’s work.
Thus the chronotope is, like Kant’s categories and intuitions, an instrument for calibrating existence. I use the word calibrate in its technical sense, whose meaning is “to adjust experimental results, to take external factors into account or to allow comparison with other data”. But, it will be asked, what would the technology look like in which chronotope is an instrument of such exquisite sensitivity? What is the means which permit time and space in general to take on the degree of temporal and spatial specificity demanded by the uses to which Bakthin wishes to put chronotope?
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