Download Bakhtin's theory of the literary chronotope : reflections, by Nele Bemong, Pieter Borghart, Michel De Dobbeleer, PDF

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 thought of the literary chronotope. this idea, firstly built within the Nineteen Thirties and used as a body of reference all through Bakhtin’s personal writings, has been hugely influential in literary reviews. 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 heritage, chronotopical readings and a few views for literary thought. those thematic different types comprise contributions via well-established Bakhtin experts similar to Gary Saul Morson and Michael Holquist, in addition to a couple of essays by way of students who've released in this topic sooner than. jointly the papers during this quantity discover the results of Bakhtin’s inspiration of the chronotope for quite a few theoretical issues similar to literary mind's eye, polysystem thought and literary model; for contemporary perspectives on literary background starting from the hellenistic romance to nineteenth century realism; and for analyses of recognized novelists and poets as different as Milton, Fielding, Dickinson, Dostoevsky, Papadiamandis, and DeLillo.

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Extra resources for Bakhtin's theory of the literary chronotope : reflections, applications, perspectives

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I can never encompass everything, thus I am condemned to being outside much – indeed most – of the things and people – and ideas – in the world. But in this condition of needing constantly to negotiate various degrees of outsideness and insideness (what Bakhtin calls appropriation, usvoenie) lies the guarantee of my freedom. book Page 31 Tuesday, May 4, 2010 5:47 PM THE FUGUE OF CHRONOTOPE 31 not given to me, in the sense that so much of it is outside me and thus in need of being creatively organized into my life.

In Jakobson’s suggestive phrase, “I” is a shifter because it moves the center of discourse from one speaking subject to another. Its emptiness is the no man’s land in which subjects can exchange the lease they all hold on meaning in language by virtue of merely saying “I”. When a particular person utters that word, he or she fills “I” with meaning by providing the central point needed to calibrate all further time and space discriminations: “I” is the invisible ground of all other indices in language, the benchmark to which all its spatial operations are referred, and the Greenwich mean time by which all its temporal distinctions are calibrated.

The static only exists within theoretical knowledge, where it can be observed to an extreme degree in the practices of mathematics and theology. Everyday prosaic experience is characterized by changes. In one of his last great philosophical works, Deleuze links this insight to the art of cinema. Cinema, he states, is the closest to everyday experience because it is the art of the changeable. Everything in cinema circles around movement and change because the art form only makes use of everyday material.

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