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

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, at the start constructed 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 amount 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 include contributions through well-established Bakhtin experts comparable 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 various theoretical themes akin to literary mind's eye, polysystem idea and literary model; for contemporary perspectives on literary background starting from the hellenistic romance to nineteenth century realism; and for analyses of famous novelists and poets as assorted as Milton, Fielding, Dickinson, Dostoevsky, Papadiamandis, and DeLillo.

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Additional info for Bakhtin's theory of the literary chronotope : reflections, applications, perspectives

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On the contrary, he militantly insists on the foundational importance of a divided subject. In a series of lectures he gave on Kant in 1924-25, Bakhtin says: “The genius of Kant consisted in the destruction of […] objective unity”, and he further specifies this claim by remarking: “The main danger consists in the possibility that an image [of the unity of consciousness] may become something more than subsidiary; the forgetting of the fact that the unity of consciousness is only an image – this is the main danger for philosophy” (1993: 331).

S. Peirce, who identifies three semiotic strategies by which reality can be analyzed. The first strategy is governed by the unitary: the image expresses a quality and demands to be judged for this quality. Observing a specific quality – a phenomenon that can be called “affection” – is the most elementary form of meaning, which is why Peirce called it “firstness”. Images governed by the dual have a more complex meaning; these are images that call forth the question pertaining to the cause of the represented image (for example, an action that calls forth a reaction).

But their integration requires exquisite philological as well as theoretical sensitivity to internal differences if we are to arrive at a – dialogically – unified conception able to incorporate both. As one possibility for pursuing such a course, I propose a musical metaphor that seeks to integrate both Bakhtin’s life of thought and the chronology of when his works were published. Instead of the linear narrative pattern by which cumulative bibliographies and unidirectional calendars are organized, Bakhtin’s career as a thinker is better grasped as itself a dialog, more specifically the particular kind of dialog known in musicology as a fugue.

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