By Nele Bemong, Pieter Borghart, Michel De Dobbeleer, Kristoffel Demoen, Koen De Temmerman, Bart Keunen
This edited quantity is the 1st scholarly tome completely devoted to Mikhail Bakhtin’s thought of the literary chronotope. this idea, first and foremost built within the Nineteen Thirties and used as a body of reference all through Bakhtin’s personal writings, has been hugely influential in literary stories. After an extensive
introduction that serves as a ‘state of the art,’ the amount is split into 4 major elements: philosophical reflections, relevance of the chronotope for literary heritage, chronotopical readings and a few views for literary conception. those thematic different types include contributions by way of well-established Bakhtin experts similar to Gary Saul Morson and Michael Holquist, in addition to a few essays via students who've released in this topic earlier than. jointly the papers during this quantity discover the consequences of Bakhtin’s proposal of the chronotope for various theoretical issues similar to literary mind's eye, polysystem idea and literary model; for contemporary perspectives on literary heritage starting from the hellenistic romance to nineteenth century realism; and for analyses of famous novelists and poets as various as Milton, Fielding, Dickinson, Dostoevsky, Papadiamandis, and DeLillo.
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Additional resources for Bakhtin's theory of the literary chronotope : reflections, applications, perspectives
They are unconditioned in the sense that there is no perception, no thinking or understanding of the self or the world without them. ) are secondarily derived, conditioned as they are by the necessity of the prior existence of time and space. Understanding time-space in these foundational terms helps to clarify the importance of these concepts in Bakhtin’s early philosophical texts, such as those difficult sections of Author and Hero in Aesthetic Activity devoted to the temporal and spatial form of the hero.
Book Page 26 Tuesday, May 4, 2010 5:47 PM 26 PART II – PHILOSOPHICAL REFLECTIONS What is most notable from the work of the 1920s is Bakhtin’s use of visual metaphors as a way to dramatize the usefulness of time-space in defining the necessity of the other in formulation of the self. From a simple phenomenological analysis of two persons looking at each other, he defines two categories that will shape his approach to the conundrum of the bifurcated self. The first of these is what Bakhtin calls the “excess of seeing” (izbytok videniia/избыток видения): When I contemplate a whole human being who is situated outside and over against me, our concrete, actually experienced horizons do not coincide [why space is important].
God of Abraham, God of Isaac, God of Jacob, not of the philosophers and the scholars […]”, as legend has it, but he still feared there might be dark recesses in his innermost self that would not let themselves be seen. ” (quoted in Bénichou 1948: 420, 323). In the next century, Rousseau, despite criticism of Enlightenment dreams of the transparency of reason, wrote: “J’aspire au moment où délivré des entraves du corps, je serai moi sans contradiction, sans partage, et n’aurait besoin que de moi pour être heureux” (Rousseau 1964: 358).
Bakhtin's theory of the literary chronotope : reflections, applications, perspectives by Nele Bemong, Pieter Borghart, Michel De Dobbeleer, Kristoffel Demoen, Koen De Temmerman, Bart Keunen