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, 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 experiences. After an extensive
introduction that serves as a ‘state of the art,’ the amount is split into 4 major components: philosophical reflections, relevance of the chronotope for literary heritage, chronotopical readings and a few views for literary conception. those thematic different types comprise contributions by means of well-established Bakhtin experts reminiscent of Gary Saul Morson and Michael Holquist, in addition to a few essays through students who've released in this topic ahead of. jointly the papers during this quantity discover the consequences of Bakhtin’s proposal of the chronotope for a number of theoretical themes comparable to literary mind's eye, polysystem concept and literary edition; 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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Additional resources for Bakhtin's theory of the literary chronotope : reflections, applications, perspectives
And, as we shall see, time-space continued to play a role in Bakhtin’s thinking during the last years of his life as well. 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.
In other words, the things I cannot see are not outside experience as such, they are merely outside – they transgress – the boundaries of what is available to my sight in a particular moment. If we switch places, that which was invisible to me in my former position comes into sight, and the same happens for you when you do the same thing. Transgredience, then, is the name of a boundary that through interaction (our changing places) can be overcome – transgressed – in experience. Bakhtin comes back to this illustration again and again because it demonstrates the self’s need of the other – from the physical environment, of course, but especially a need for other people.
It followed from Kant’s epistemology that the perceiving subject was defined as an activity: his term for the subject is not a noun (“self”) or a pronoun (“I”), but a verb: “I-think” (Ich-denke), that he treats only grammatically as a noun. Moreover, Kant’s “I-think” is necessarily not a unified subject, a conclusion that horrified his contemporary audience. It is difficult now to imagine the sense of shock caused by Kant’s insistence on the absolute cut off between mind and world, evidence of which I cite below.