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 idea of the literary chronotope. this idea, at the beginning constructed 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 quantity is split into 4 major components: philosophical reflections, relevance of the chronotope for literary historical past, chronotopical readings and a few views for literary idea. those thematic different types comprise contributions through well-established Bakhtin experts reminiscent of Gary Saul Morson and Michael Holquist, in addition to a few essays by means of students who've released in this topic earlier than. jointly the papers during this quantity discover the results of Bakhtin’s inspiration of the chronotope for quite a few theoretical themes resembling literary mind's eye, polysystem concept and literary variation; for contemporary perspectives on literary heritage starting from the hellenistic romance to nineteenth century realism; and for analyses of famous novelists and poets as different 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
As Benveniste has pointed out, “I” is a word that has no referent in the way “tree”, for instance, nominates a class of flora. book Page 32 Tuesday, May 4, 2010 5:47 PM 32 PART II – PHILOSOPHICAL REFLECTIONS do. For its task is to indicate the person uttering the present instance of the discourse containing “I”, a person who is alwas changing and different. “I” must not refer to anything in particular, or it will not be able to mean everybody in general. In Jakobson’s suggestive phrase, “I” is a shifter because it moves the center of discourse from one speaking subject to another.
It is not just that whether we perceive from a position of standing or walking determines the image we form of this situation. It is also that man is an imag(in)ing creature, coloring each perception with information stored in memory (the woman I observe on the street may attract my attention because she reminds me of the woman I once loved) and with information tied up with the projection of the current situation toward a next situation (the people I observe I see as people whom I know are on their way to work).
And secondly, the only self that is visible to the individual subject – despite its defining task of bringing the manifold variety of the world into a meaningful unity – is not noumenal. It is a construction, moreover a construction that is itself not singular. For Bakhtin, “self” belongs to that class of words that includes “twin”: when we identify someone as a twin, we recognize that his identity is derivative: as such, it depends on the existence of another self, the secret sharer who is the other twin.