Alastair Matthews
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199656998
- eISBN:
- 9780191742187
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199656998.003.0002
- Subject:
- Literature, European Literature, Early and Medieval Literature
This chapter investigates how the temporal and spatial world of the narrative is configured in the episode about Constantine the Great in the Kaiserchronik. The chapter describes how medieval texts ...
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This chapter investigates how the temporal and spatial world of the narrative is configured in the episode about Constantine the Great in the Kaiserchronik. The chapter describes how medieval texts engaged with time, place, and space, as well as how modern theorists have approached them. It then shows that time in this episode of the Kaiserchronik is presented as something that characters experience and think about, in contrast to other vernacular versions of Constantine's conversion experience such as Priester Konrad's sermon. The chapter also demonstrates with reference to Constantinople that concepts of place and movement define this episode of the Kaiserchronik, which lacks the detailed depiction of city spaces found in several other medieval texts such as the Mirabilia Romae.Less
This chapter investigates how the temporal and spatial world of the narrative is configured in the episode about Constantine the Great in the Kaiserchronik. The chapter describes how medieval texts engaged with time, place, and space, as well as how modern theorists have approached them. It then shows that time in this episode of the Kaiserchronik is presented as something that characters experience and think about, in contrast to other vernacular versions of Constantine's conversion experience such as Priester Konrad's sermon. The chapter also demonstrates with reference to Constantinople that concepts of place and movement define this episode of the Kaiserchronik, which lacks the detailed depiction of city spaces found in several other medieval texts such as the Mirabilia Romae.
Shawn Malley
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781786941190
- eISBN:
- 9781789629088
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781786941190.003.0004
- Subject:
- Film, Television and Radio, Film
This chapter examines the representation of archaeology in the action/adventure cinematics of Michael Bay's Transformers 2: Revenge of the Fallen (2007), a film predicated on hidden relics ...
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This chapter examines the representation of archaeology in the action/adventure cinematics of Michael Bay's Transformers 2: Revenge of the Fallen (2007), a film predicated on hidden relics transforming explosively into action. The film's diegetic environment—which features a hunt for a lost relic that happens to be the key to an ancient doomsday device secreted away inside the Great Pyramid at Giza—is analogous to the its specific geographical and historical setting. The film is "Babylonian" in that it invokes Orientalist imagery as an almost inevitable generic necessity within SF action/adventure cinema. The chapter argues specifically that the military, archaeological and geopolitical motifs of the film are most clearly and coherently aligned in the framing and shot-making techniques of the action sequences themselves. By figuratively compressing time into literally compressed spaces (here principal photography at Petra, Giza and Luxor is collapsed into a single location), the set/setting is a chronotopic threshold that transforms antiquity into a battle ground for military technocratic modernity.Less
This chapter examines the representation of archaeology in the action/adventure cinematics of Michael Bay's Transformers 2: Revenge of the Fallen (2007), a film predicated on hidden relics transforming explosively into action. The film's diegetic environment—which features a hunt for a lost relic that happens to be the key to an ancient doomsday device secreted away inside the Great Pyramid at Giza—is analogous to the its specific geographical and historical setting. The film is "Babylonian" in that it invokes Orientalist imagery as an almost inevitable generic necessity within SF action/adventure cinema. The chapter argues specifically that the military, archaeological and geopolitical motifs of the film are most clearly and coherently aligned in the framing and shot-making techniques of the action sequences themselves. By figuratively compressing time into literally compressed spaces (here principal photography at Petra, Giza and Luxor is collapsed into a single location), the set/setting is a chronotopic threshold that transforms antiquity into a battle ground for military technocratic modernity.
Justine Buck Quijada
- Published in print:
- 2019
- Published Online:
- March 2019
- ISBN:
- 9780190916794
- eISBN:
- 9780190916824
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190916794.001.0001
- Subject:
- Religion, Buddhism, World Religions
History in the Soviet Union was a political project. From the Soviet perspective, Buryats, an indigenous Siberian ethnic group, were a “backward” nationality that was carried along on the inexorable ...
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History in the Soviet Union was a political project. From the Soviet perspective, Buryats, an indigenous Siberian ethnic group, were a “backward” nationality that was carried along on the inexorable march toward the Communist utopian future. When the Soviet Union ended, the Soviet version of history lost its power and Buryats, like other Siberian indigenous peoples, were able to revive religious and cultural traditions that had been suppressed by the Soviet state. In the process, they also recovered knowledge about the past that the Soviet Union had silenced. Borrowing the analytic lens of the chronotope from Bakhtin, this book argues that rituals have chronotopes which situate people within time and space. As they revived rituals, post-Soviet Buryats encountered new historical information and traditional ways of being in time that enabled them to reimagine the Buryat past and what it means to be Buryat. Through the temporal perspective of a reincarnating Buddhist monk, Dashi-Dorzho Etigelov, Buddhists come to see the Soviet period as a test on the path of dharma. Shamanic practitioners, in contrast, renegotiate their relationship to the past by speaking to their ancestors through the bodies of shamans. By comparing the versions of history that are produced in Buddhist, shamanic, and civic rituals, Buddhists, Shamans, and Soviets offers a new lens for analyzing ritual, a new perspective on how an indigenous people grapples with a history of state repression, and an innovative approach to the ethnographic study of how people know about the past.Less
History in the Soviet Union was a political project. From the Soviet perspective, Buryats, an indigenous Siberian ethnic group, were a “backward” nationality that was carried along on the inexorable march toward the Communist utopian future. When the Soviet Union ended, the Soviet version of history lost its power and Buryats, like other Siberian indigenous peoples, were able to revive religious and cultural traditions that had been suppressed by the Soviet state. In the process, they also recovered knowledge about the past that the Soviet Union had silenced. Borrowing the analytic lens of the chronotope from Bakhtin, this book argues that rituals have chronotopes which situate people within time and space. As they revived rituals, post-Soviet Buryats encountered new historical information and traditional ways of being in time that enabled them to reimagine the Buryat past and what it means to be Buryat. Through the temporal perspective of a reincarnating Buddhist monk, Dashi-Dorzho Etigelov, Buddhists come to see the Soviet period as a test on the path of dharma. Shamanic practitioners, in contrast, renegotiate their relationship to the past by speaking to their ancestors through the bodies of shamans. By comparing the versions of history that are produced in Buddhist, shamanic, and civic rituals, Buddhists, Shamans, and Soviets offers a new lens for analyzing ritual, a new perspective on how an indigenous people grapples with a history of state repression, and an innovative approach to the ethnographic study of how people know about the past.
Louis Bayman and Natália Pinazza (eds)
- Published in print:
- 2018
- Published Online:
- September 2019
- ISBN:
- 9781474421836
- eISBN:
- 9781474460118
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474421836.001.0001
- Subject:
- Film, Television and Radio, Film
This collection seeks to position the journey as a persistent presence across cinema, and fundamental to its position within modernity. It addresses the innovative appeal of journey narratives from ...
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This collection seeks to position the journey as a persistent presence across cinema, and fundamental to its position within modernity. It addresses the innovative appeal of journey narratives from pre-cinema to new media and through documentary, fiction, and the spaces between. Its examples traverse different regions and cultures, including a sub-section dedicated to Eastern Europe, to illuminate questions of belonging, diaspora, displacement, identity and memory. It considers how the journey is a formal element determining art cinema and popular genres such as sci-fi, romance and horror alike, with a special focus on rethinking the road movie. Through this variety, the collection investigates the journey as a motif for self-discovery and encounter, an emblem of artistic and social transformation, a cause of dynamism or stasis and as evidence of autonomy and progress (or their lack). The essays in it thus document epochal changes from urbanisation, migration and war to tourism and shopping, and all aim to address the diversity of cinematic journeys through developing methodological frameworks appropriate to an understanding of the journey as simultaneously a political question, contextual element and a formal property.Less
This collection seeks to position the journey as a persistent presence across cinema, and fundamental to its position within modernity. It addresses the innovative appeal of journey narratives from pre-cinema to new media and through documentary, fiction, and the spaces between. Its examples traverse different regions and cultures, including a sub-section dedicated to Eastern Europe, to illuminate questions of belonging, diaspora, displacement, identity and memory. It considers how the journey is a formal element determining art cinema and popular genres such as sci-fi, romance and horror alike, with a special focus on rethinking the road movie. Through this variety, the collection investigates the journey as a motif for self-discovery and encounter, an emblem of artistic and social transformation, a cause of dynamism or stasis and as evidence of autonomy and progress (or their lack). The essays in it thus document epochal changes from urbanisation, migration and war to tourism and shopping, and all aim to address the diversity of cinematic journeys through developing methodological frameworks appropriate to an understanding of the journey as simultaneously a political question, contextual element and a formal property.
Philippe Lorino and Benoît Tricard
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199640997
- eISBN:
- 9780191738388
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199640997.003.0009
- Subject:
- Business and Management, Organization Studies
Adopting a process view of organizations (Tsoukas and Chia, 2002), what kind of process is the organizing process? This chapter begins by arguing that the organizing process is an inherently ...
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Adopting a process view of organizations (Tsoukas and Chia, 2002), what kind of process is the organizing process? This chapter begins by arguing that the organizing process is an inherently narrative abductive inquiry. Taking a praxeological (purposeful activity-focused) rather than discursive (language and discourse-focused) view of narrativity, it concentrates on the narrativity of organizing processes per se, rather than specific narrative objects (texts) or practices (storytelling) within organizations. The second part of the chapter studies the presupposed, tacit, often invisible, and generic narrative frames (“architextures”) by which narrative practices must abide to make sense in a given cultural environment. A key “architexture” is the chronotope, or time–space frame of narratives, theorized by Bakhtin (1981), who viewed the close integration of time and space as the basis of narrative social intelligibility. This concept is applied here to organizing inquiries. Referring to Deleuze’s extended view of chronotope (Deleuze, 1984/2006) and Genette’s theory of narrative levels (Genette, 1972), the chapter analyzes situations in which the organizational chronotope is destabilized by actions that transgress narrative boundaries (“metalepsis”). Some organizational actors may then “scream” to reaffirm and defend the normal time–space frame, defying rational discourse. We then present two case studies showing the connections between time–space structures, meaning-making schemes, and professional identities: (a) a historical analysis of the computer industry move from manufacturing to services in the 1990s and its time–space dimension; and (b) the disruption, for work safety reasons, of the traditional building industry’s “project design,” “project preparation,” and “on-site building” sequence. In both cases, metalepsis situations drew “screams” from key organizational actors. Finally, we explore the theoretical, methodological, and practical perspectives the chronotope concept offers to organization studies.Less
Adopting a process view of organizations (Tsoukas and Chia, 2002), what kind of process is the organizing process? This chapter begins by arguing that the organizing process is an inherently narrative abductive inquiry. Taking a praxeological (purposeful activity-focused) rather than discursive (language and discourse-focused) view of narrativity, it concentrates on the narrativity of organizing processes per se, rather than specific narrative objects (texts) or practices (storytelling) within organizations. The second part of the chapter studies the presupposed, tacit, often invisible, and generic narrative frames (“architextures”) by which narrative practices must abide to make sense in a given cultural environment. A key “architexture” is the chronotope, or time–space frame of narratives, theorized by Bakhtin (1981), who viewed the close integration of time and space as the basis of narrative social intelligibility. This concept is applied here to organizing inquiries. Referring to Deleuze’s extended view of chronotope (Deleuze, 1984/2006) and Genette’s theory of narrative levels (Genette, 1972), the chapter analyzes situations in which the organizational chronotope is destabilized by actions that transgress narrative boundaries (“metalepsis”). Some organizational actors may then “scream” to reaffirm and defend the normal time–space frame, defying rational discourse. We then present two case studies showing the connections between time–space structures, meaning-making schemes, and professional identities: (a) a historical analysis of the computer industry move from manufacturing to services in the 1990s and its time–space dimension; and (b) the disruption, for work safety reasons, of the traditional building industry’s “project design,” “project preparation,” and “on-site building” sequence. In both cases, metalepsis situations drew “screams” from key organizational actors. Finally, we explore the theoretical, methodological, and practical perspectives the chronotope concept offers to organization studies.
Jed Esty
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199857968
- eISBN:
- 9780199919581
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199857968.003.0003
- Subject:
- Literature, 20th-century and Contemporary Literature, 20th-century Literature and Modernism
Chapter 3 reexamines Schreiner's African Farm and Conrad's Lord Jim as texts of the global/colonial frontier whose stunted protagonists point to an uneasy grafting of world-historical knowledge into ...
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Chapter 3 reexamines Schreiner's African Farm and Conrad's Lord Jim as texts of the global/colonial frontier whose stunted protagonists point to an uneasy grafting of world-historical knowledge into an older national-historical model of the realist bildungsroman. What is presented to readers in these texts as an immediate and often moving set of unresolvable existential or social conflicts also indexes the structuring contradiction between an imperial ethos of worldwide modernization and the stubborn facts of uneven and under-development in the colonial periphery. Such a double crisis is definitive of Conrad's and Schreiner's relationship both to emergent modernist form and to the New Imperialism. As the model of national-industrial emergence becomes obsolete in Europe, and is barely emergent in the global south, the novel of unseasonable youth registers the faltering power of the nationhood-adulthood allegory to give shape to historical time and to social transformation.Less
Chapter 3 reexamines Schreiner's African Farm and Conrad's Lord Jim as texts of the global/colonial frontier whose stunted protagonists point to an uneasy grafting of world-historical knowledge into an older national-historical model of the realist bildungsroman. What is presented to readers in these texts as an immediate and often moving set of unresolvable existential or social conflicts also indexes the structuring contradiction between an imperial ethos of worldwide modernization and the stubborn facts of uneven and under-development in the colonial periphery. Such a double crisis is definitive of Conrad's and Schreiner's relationship both to emergent modernist form and to the New Imperialism. As the model of national-industrial emergence becomes obsolete in Europe, and is barely emergent in the global south, the novel of unseasonable youth registers the faltering power of the nationhood-adulthood allegory to give shape to historical time and to social transformation.
Michael Kunichika
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780823264858
- eISBN:
- 9780823266852
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823264858.003.0007
- Subject:
- Literature, Criticism/Theory
This chapter theorizes formal persistence as an aporia, a predicament, and the reality of (late) Romantic lyric. Focusing on the history of the image of the kurgan, Kunichika shows that it enters ...
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This chapter theorizes formal persistence as an aporia, a predicament, and the reality of (late) Romantic lyric. Focusing on the history of the image of the kurgan, Kunichika shows that it enters into a complex relation with the quintessential Romantic topos of the oak, allowing for various poetic figurations of the interpenetration of the historical past and the organic processes that obliterate it. Even as they participate in a closely-knit literary tradition, the poems by A. K. Tolstoy, Afanasy Fet, and Fyodor Tiutchev thematize oblivion as a paradoxically productive space within which an antiquity retains or assumes an ability to speak to the modern viewer. By drawing on contemporary visual representations emerging from archaeological work on medieval Russian burial mounds, the chapter clarifies the historical meaning of these evocations of the past that, even as they stage their own inadequacy, reveal the urgency with which this past was being reclaimed from oblivion.Less
This chapter theorizes formal persistence as an aporia, a predicament, and the reality of (late) Romantic lyric. Focusing on the history of the image of the kurgan, Kunichika shows that it enters into a complex relation with the quintessential Romantic topos of the oak, allowing for various poetic figurations of the interpenetration of the historical past and the organic processes that obliterate it. Even as they participate in a closely-knit literary tradition, the poems by A. K. Tolstoy, Afanasy Fet, and Fyodor Tiutchev thematize oblivion as a paradoxically productive space within which an antiquity retains or assumes an ability to speak to the modern viewer. By drawing on contemporary visual representations emerging from archaeological work on medieval Russian burial mounds, the chapter clarifies the historical meaning of these evocations of the past that, even as they stage their own inadequacy, reveal the urgency with which this past was being reclaimed from oblivion.
Andrew D. Miller
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781781381908
- eISBN:
- 9781781382356
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781781381908.003.0002
- Subject:
- Literature, Poetry
The chapter addresses the primary aspects of the ekphrasis of photographs. Using Mikhail Bahktin’s theory of the chronotope of the novel, the chapter defines what it terms “the chronotope of the ...
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The chapter addresses the primary aspects of the ekphrasis of photographs. Using Mikhail Bahktin’s theory of the chronotope of the novel, the chapter defines what it terms “the chronotope of the photograph”, describing this as a narrative space that occurs between a photographic image and a poetic speaker. The primary example is taken from Walter Benjamin’s essay “A Brief History of Photography”.Less
The chapter addresses the primary aspects of the ekphrasis of photographs. Using Mikhail Bahktin’s theory of the chronotope of the novel, the chapter defines what it terms “the chronotope of the photograph”, describing this as a narrative space that occurs between a photographic image and a poetic speaker. The primary example is taken from Walter Benjamin’s essay “A Brief History of Photography”.
Justine Buck Quijada
- Published in print:
- 2019
- Published Online:
- March 2019
- ISBN:
- 9780190916794
- eISBN:
- 9780190916824
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190916794.003.0008
- Subject:
- Religion, Buddhism, World Religions
The epilogue re-caps the arguments presented in the previous chapters, and revisits Bakhtin’s idea of the chronotope as an analytic terminology for an anthropology of history. The epilogue argues ...
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The epilogue re-caps the arguments presented in the previous chapters, and revisits Bakhtin’s idea of the chronotope as an analytic terminology for an anthropology of history. The epilogue argues that a comparative approach to indigenous revitalization projects in post-Soviet secular Buryatia reveals the contingent and creative nature of human conceptions of time and space, and the productive capacity of ritual. The chronotopes indexed in rituals exist as negotiated, contingent, performative evocations of pasts that continuously produce Buryats as subjects in the present. The epilogue also reminds readers that all the previous chapters are linked by the way in which contemporary Buryats emphasize materiality as proof for belief, and argues that this is a secular conception that undergirds contemporary Siberian religious practices. The materiality of ritual appears to participants to exceed its explanations, grounding revived post-Soviet religious practice in a secular discourse of evidentiary proof.Less
The epilogue re-caps the arguments presented in the previous chapters, and revisits Bakhtin’s idea of the chronotope as an analytic terminology for an anthropology of history. The epilogue argues that a comparative approach to indigenous revitalization projects in post-Soviet secular Buryatia reveals the contingent and creative nature of human conceptions of time and space, and the productive capacity of ritual. The chronotopes indexed in rituals exist as negotiated, contingent, performative evocations of pasts that continuously produce Buryats as subjects in the present. The epilogue also reminds readers that all the previous chapters are linked by the way in which contemporary Buryats emphasize materiality as proof for belief, and argues that this is a secular conception that undergirds contemporary Siberian religious practices. The materiality of ritual appears to participants to exceed its explanations, grounding revived post-Soviet religious practice in a secular discourse of evidentiary proof.
R. Bracht Branham
- Published in print:
- 2019
- Published Online:
- December 2019
- ISBN:
- 9780198841265
- eISBN:
- 9780191876813
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198841265.001.0001
- Subject:
- Classical Studies, Prose and Writers: Classical, Early, and Medieval, Literary Studies: Classical, Early, and Medieval
Bakhtin as a philosopher and a student of the novel is intent upon the novel’s role in the history of consciousness. His project fails if he is wrong about the dialogic nature of consciousness or the ...
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Bakhtin as a philosopher and a student of the novel is intent upon the novel’s role in the history of consciousness. His project fails if he is wrong about the dialogic nature of consciousness or the cultural centrality of the novel as the only discourse that can model human consciousness and its intersubjective character. Inventing the Novel is an argument in four stages: the Introduction surveys Bakhtin’s life and his theoretical work in the 1920s, which grounded his work on the novel, as investigated in following chapters. Chapter 1 sketches Bakhtin’s view of literary history as an agonistic dialogue of genres, concluding with his claim that the novel originates as a new way of evaluating time. Chapter 2 explores Bakhtin’s theory of chronotopes: how do forms of time and space in ancient fiction delimit the possible representation of the human? Chapter 3 assesses Bakhtin’s poetics of genre in his account of Menippean satire as crucial in the history of the novel. Chapter 4 uses Petronius to address the prosaics of the novel, exploring Bakhtin’s account of how novelists of “the second stylistic line” orchestrate the babble of voices expressive of an era into “a microcosm of heteroglossia,” focusing it through the consciousness of characters “on the boundary” between I and thou. Insofar as this analysis succeeds, it evinces the truth of Bakhtin’s claim that the role of Petronius’s Satyrica in the history of the novel is “immense.”Less
Bakhtin as a philosopher and a student of the novel is intent upon the novel’s role in the history of consciousness. His project fails if he is wrong about the dialogic nature of consciousness or the cultural centrality of the novel as the only discourse that can model human consciousness and its intersubjective character. Inventing the Novel is an argument in four stages: the Introduction surveys Bakhtin’s life and his theoretical work in the 1920s, which grounded his work on the novel, as investigated in following chapters. Chapter 1 sketches Bakhtin’s view of literary history as an agonistic dialogue of genres, concluding with his claim that the novel originates as a new way of evaluating time. Chapter 2 explores Bakhtin’s theory of chronotopes: how do forms of time and space in ancient fiction delimit the possible representation of the human? Chapter 3 assesses Bakhtin’s poetics of genre in his account of Menippean satire as crucial in the history of the novel. Chapter 4 uses Petronius to address the prosaics of the novel, exploring Bakhtin’s account of how novelists of “the second stylistic line” orchestrate the babble of voices expressive of an era into “a microcosm of heteroglossia,” focusing it through the consciousness of characters “on the boundary” between I and thou. Insofar as this analysis succeeds, it evinces the truth of Bakhtin’s claim that the role of Petronius’s Satyrica in the history of the novel is “immense.”
Harriet E. H. Earle
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496812469
- eISBN:
- 9781496812506
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496812469.003.0006
- Subject:
- Literature, Comics Studies
Chapter five opens a dialogue between the Bakhtinian concept of the chronotope and the creative process of comics. Although comics certainly fit into the complex definition that Bakhtin offers for ...
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Chapter five opens a dialogue between the Bakhtinian concept of the chronotope and the creative process of comics. Although comics certainly fit into the complex definition that Bakhtin offers for the chronotope, trauma comics break with the conventions of the form, as traumatic representation is wont to do. This chapter deals with challenges to narrative linearity, looking at the use of fractured and framed narratives. The chapter closes with an examination of the problems of temporal representation created when superheroes become involved, as shown in many 9/11 comics, using Umberto Eco’s essay “The Myth of Superman” (1997). Eco’s critique can also be used to analyze the many ways in which mainstream characters interact with actual historical events.Less
Chapter five opens a dialogue between the Bakhtinian concept of the chronotope and the creative process of comics. Although comics certainly fit into the complex definition that Bakhtin offers for the chronotope, trauma comics break with the conventions of the form, as traumatic representation is wont to do. This chapter deals with challenges to narrative linearity, looking at the use of fractured and framed narratives. The chapter closes with an examination of the problems of temporal representation created when superheroes become involved, as shown in many 9/11 comics, using Umberto Eco’s essay “The Myth of Superman” (1997). Eco’s critique can also be used to analyze the many ways in which mainstream characters interact with actual historical events.
Rachel Falconer
- Published in print:
- 2004
- Published Online:
- March 2012
- ISBN:
- 9780748617630
- eISBN:
- 9780748651733
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748617630.003.0003
- Subject:
- Literature, 20th-century and Contemporary Literature
This chapter presents a more formalist approach to Hell, showing that however Hell is defined or whatever people think being in Hell means, the ideas are influenced by the conventions and dynamics of ...
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This chapter presents a more formalist approach to Hell, showing that however Hell is defined or whatever people think being in Hell means, the ideas are influenced by the conventions and dynamics of narrative. It views Hell as a chronotope, which is a generically distinct representation of time and space in narrative, and looks at the representation of the image of the human subject in distinctive and particular ways. The chapter shows that people can challenge the traditional chronotropic representations of Hell as temporally fixed and spatially distanced, which makes it feared and revered as a theological absolute.Less
This chapter presents a more formalist approach to Hell, showing that however Hell is defined or whatever people think being in Hell means, the ideas are influenced by the conventions and dynamics of narrative. It views Hell as a chronotope, which is a generically distinct representation of time and space in narrative, and looks at the representation of the image of the human subject in distinctive and particular ways. The chapter shows that people can challenge the traditional chronotropic representations of Hell as temporally fixed and spatially distanced, which makes it feared and revered as a theological absolute.
Sanja Bahun
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199977956
- eISBN:
- 9780199333349
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199977956.003.0002
- Subject:
- Literature, European Literature, World Literature
Drawing on insights from multiple disciplines, the chapter identifies the discursive prominence of melancholia in a wide range of public settings between 1850 and 1950, and the self-conscious ...
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Drawing on insights from multiple disciplines, the chapter identifies the discursive prominence of melancholia in a wide range of public settings between 1850 and 1950, and the self-conscious employment of the “melancholic symptom” in art and literature of the period. It suggests a reassessment of the concepts of mourning and melancholia and of the ways in which they are used in literary criticism. This reconceptualization accords with the “modernist” psychoanalysts’ own reflections of melancholia/mourning, and takes into account specific social dynamics of the period such as the waning of mourning rites. Identifying in modernist literature an impulse to “countermourn”, the chapter furthermore contrasts the modernist use of the melancholic symptom to all previous “aesthetic melancholias.” The interaction of the contemporaneous theories of melancholia and the narrative strategies in modernist fiction is explored in detail, and with reference to a wide range of novels.Less
Drawing on insights from multiple disciplines, the chapter identifies the discursive prominence of melancholia in a wide range of public settings between 1850 and 1950, and the self-conscious employment of the “melancholic symptom” in art and literature of the period. It suggests a reassessment of the concepts of mourning and melancholia and of the ways in which they are used in literary criticism. This reconceptualization accords with the “modernist” psychoanalysts’ own reflections of melancholia/mourning, and takes into account specific social dynamics of the period such as the waning of mourning rites. Identifying in modernist literature an impulse to “countermourn”, the chapter furthermore contrasts the modernist use of the melancholic symptom to all previous “aesthetic melancholias.” The interaction of the contemporaneous theories of melancholia and the narrative strategies in modernist fiction is explored in detail, and with reference to a wide range of novels.
Sanja Bahun
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199977956
- eISBN:
- 9780199333349
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199977956.003.0004
- Subject:
- Literature, European Literature, World Literature
This chapter offers a reassessment of Franz Kafka’s 1922 novel The Castle. The novel, Kafka’s “countermonument,” is interpreted in the context of the modernist revaluation of home as absence, the ...
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This chapter offers a reassessment of Franz Kafka’s 1922 novel The Castle. The novel, Kafka’s “countermonument,” is interpreted in the context of the modernist revaluation of home as absence, the writer’s own melancholic reframing of the notion of historical engagement, and his effort to “symptomize” fictional expression. The chapter first covers a string of historical and intertextual vicissitudes of Kafka’s Castle, ranging from the writer’s close engagement with Božena Němcová’s novel The Grandmother to the contemporaneous revamping of the Prague Castle area, and then proceeds to engage with Kafka’s linguistic and narrative strategies, including the figuration of the novel’s chronotope as the symbolic space “in between the two deaths” and linguistic mimicry of the melancholic structure of experience. These are interpreted as a conscious deployment of the melancholic symptom, with distinct aesthetic and political repercussions.Less
This chapter offers a reassessment of Franz Kafka’s 1922 novel The Castle. The novel, Kafka’s “countermonument,” is interpreted in the context of the modernist revaluation of home as absence, the writer’s own melancholic reframing of the notion of historical engagement, and his effort to “symptomize” fictional expression. The chapter first covers a string of historical and intertextual vicissitudes of Kafka’s Castle, ranging from the writer’s close engagement with Božena Němcová’s novel The Grandmother to the contemporaneous revamping of the Prague Castle area, and then proceeds to engage with Kafka’s linguistic and narrative strategies, including the figuration of the novel’s chronotope as the symbolic space “in between the two deaths” and linguistic mimicry of the melancholic structure of experience. These are interpreted as a conscious deployment of the melancholic symptom, with distinct aesthetic and political repercussions.
Saverio Tomaiuolo
- Published in print:
- 2010
- Published Online:
- March 2012
- ISBN:
- 9780748641154
- eISBN:
- 9780748651665
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748641154.003.0003
- Subject:
- Literature, 19th-century and Victorian Literature
This chapter examines John Marchmont’s Legacy, where Braddon contrasts Marchmont Towers with railways and trains, and looks at how she connects both images with the theme of ‘dispossession’ that can ...
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This chapter examines John Marchmont’s Legacy, where Braddon contrasts Marchmont Towers with railways and trains, and looks at how she connects both images with the theme of ‘dispossession’ that can be found throughout the whole novel. Marchmont Towers serves as the most significant ‘chronotope’ in the novel, through which ‘time’ and ‘space’ are combined and compressed in a single topological unity. The chapter also notes that the novel prioritises legacy and dispossession, which are seen as existential and economic paradigms.Less
This chapter examines John Marchmont’s Legacy, where Braddon contrasts Marchmont Towers with railways and trains, and looks at how she connects both images with the theme of ‘dispossession’ that can be found throughout the whole novel. Marchmont Towers serves as the most significant ‘chronotope’ in the novel, through which ‘time’ and ‘space’ are combined and compressed in a single topological unity. The chapter also notes that the novel prioritises legacy and dispossession, which are seen as existential and economic paradigms.
Justine Buck Quijada
- Published in print:
- 2019
- Published Online:
- March 2019
- ISBN:
- 9780190916794
- eISBN:
- 9780190916824
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190916794.003.0001
- Subject:
- Religion, Buddhism, World Religions
Applying J. L. Austin’s distinction between constative and performative speech to history-making offers terminology for studying how knowledge about the past is produced and wielded in the present. ...
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Applying J. L. Austin’s distinction between constative and performative speech to history-making offers terminology for studying how knowledge about the past is produced and wielded in the present. In drawing a distinction between a historical event as a constative fact and the performative effect of talking about that historical event in the present, scholars can identify historical genres. Just as literary genres are defined by chronotopes (the relationship between time, space, and the hero), so too historical genres can be defined by chronotopes. By indexing these chronotopes, ritual can work to situate people within time and space. In post-Soviet Buryatia, rituals become spaces where people can explore alternative chronotopes and re-evaluate the past. The chapter offers key background information and argues that the stakes of history are higher both in post-authoritarian contexts and among indigenous peoples.Less
Applying J. L. Austin’s distinction between constative and performative speech to history-making offers terminology for studying how knowledge about the past is produced and wielded in the present. In drawing a distinction between a historical event as a constative fact and the performative effect of talking about that historical event in the present, scholars can identify historical genres. Just as literary genres are defined by chronotopes (the relationship between time, space, and the hero), so too historical genres can be defined by chronotopes. By indexing these chronotopes, ritual can work to situate people within time and space. In post-Soviet Buryatia, rituals become spaces where people can explore alternative chronotopes and re-evaluate the past. The chapter offers key background information and argues that the stakes of history are higher both in post-authoritarian contexts and among indigenous peoples.
Claudio Lomnitz
- Published in print:
- 2009
- Published Online:
- June 2013
- ISBN:
- 9780804760201
- eISBN:
- 9780804772402
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804760201.003.0005
- Subject:
- Anthropology, Anthropology, Theory and Practice
This chapter discusses the Bakthin concept of the “chronotope” to show how the spatiotemporal frameworks were used as tools to write narratives aimed at creating a “historical consciousness” of ...
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This chapter discusses the Bakthin concept of the “chronotope” to show how the spatiotemporal frameworks were used as tools to write narratives aimed at creating a “historical consciousness” of “dependency” about Mexico's relationships with the United States during Porfirio Diaz's presidency. It reveals that chronotopes are relevant to discussions of ethnography and history and shows how chronotopes were able to form a destructive logic of dependency that effectively silenced the experiences of everyday subjects. The subtle and not-so-subtle forms of racialization that arrived through the photographs that represented Mexico are described. Finally, the chapter also extends an analysis of James Creelman's interview of President Diaz and considers the question why alternative representations of Mexico (e.g. “muckraking”) have proved to be non-translatable and silent during the chronotope of dependency period.Less
This chapter discusses the Bakthin concept of the “chronotope” to show how the spatiotemporal frameworks were used as tools to write narratives aimed at creating a “historical consciousness” of “dependency” about Mexico's relationships with the United States during Porfirio Diaz's presidency. It reveals that chronotopes are relevant to discussions of ethnography and history and shows how chronotopes were able to form a destructive logic of dependency that effectively silenced the experiences of everyday subjects. The subtle and not-so-subtle forms of racialization that arrived through the photographs that represented Mexico are described. Finally, the chapter also extends an analysis of James Creelman's interview of President Diaz and considers the question why alternative representations of Mexico (e.g. “muckraking”) have proved to be non-translatable and silent during the chronotope of dependency period.
Beryl Pong
- Published in print:
- 2020
- Published Online:
- July 2020
- ISBN:
- 9780198840923
- eISBN:
- 9780191876530
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198840923.003.0010
- Subject:
- Literature, 20th-century and Contemporary Literature
After air raids destroyed much of London’s landscape, there were attempts at not only material but imaginative reconstruction. Books of photographs comparing London’s landmarks before and after ...
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After air raids destroyed much of London’s landscape, there were attempts at not only material but imaginative reconstruction. Books of photographs comparing London’s landmarks before and after ruination were made; maps of ‘ruin-walks’ were created for tourists to follow; and new editions of past histories of London were reissued without incorporating present-day damage, as if to elide and erase the wartime years. The intersection between memory and ruins is of primordial concern in a post-war Bildungsroman by Rose Macaulay, whose young protagonist remains unable to assimilate into her post-war landscape. Through the chronotope of ruin, Chapter 9 explores how Macaulay combines London’s landscape with that of her character’s traumatized childhood in Vichy France. In doing so, she explores the limits of the Bildungsroman, in its emphasis on individual-social formation, as a genre for the post-war world.Less
After air raids destroyed much of London’s landscape, there were attempts at not only material but imaginative reconstruction. Books of photographs comparing London’s landmarks before and after ruination were made; maps of ‘ruin-walks’ were created for tourists to follow; and new editions of past histories of London were reissued without incorporating present-day damage, as if to elide and erase the wartime years. The intersection between memory and ruins is of primordial concern in a post-war Bildungsroman by Rose Macaulay, whose young protagonist remains unable to assimilate into her post-war landscape. Through the chronotope of ruin, Chapter 9 explores how Macaulay combines London’s landscape with that of her character’s traumatized childhood in Vichy France. In doing so, she explores the limits of the Bildungsroman, in its emphasis on individual-social formation, as a genre for the post-war world.
Derek Pardue
- Published in print:
- 2015
- Published Online:
- April 2017
- ISBN:
- 9780252039676
- eISBN:
- 9780252097768
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039676.003.0004
- Subject:
- Anthropology, European Cultural Anthropology
This chapter examines the relationship of the microstructures of Kriolu phonemes and morphemes to Kriolu rap's narrative themes of discontented diaspora and unfulfilled membership. After providing a ...
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This chapter examines the relationship of the microstructures of Kriolu phonemes and morphemes to Kriolu rap's narrative themes of discontented diaspora and unfulfilled membership. After providing a background on Kriolu language, the chapter explains how Kriolu rappers use language and how this might shed light into their identity work by highlighting Kriolu as an alternative to tuga (white Portuguese). It then asks why some Lisbon rappers sing in Kriolu rather than Portuguese, and how their use of language is effective in drawing attention to Cape Verdean projects of place-making and belonging. It also looks at Kriolu rappers' adoption of Hezbollah or favorable references to Palestine by citing the LBC/Soldjah song “Liberta Palestina.” It argues that the local language practices evident in Kriolu rap music illuminate an essential component of identity formation, namely, the ideological force of timeplace articulation, or chronotope.Less
This chapter examines the relationship of the microstructures of Kriolu phonemes and morphemes to Kriolu rap's narrative themes of discontented diaspora and unfulfilled membership. After providing a background on Kriolu language, the chapter explains how Kriolu rappers use language and how this might shed light into their identity work by highlighting Kriolu as an alternative to tuga (white Portuguese). It then asks why some Lisbon rappers sing in Kriolu rather than Portuguese, and how their use of language is effective in drawing attention to Cape Verdean projects of place-making and belonging. It also looks at Kriolu rappers' adoption of Hezbollah or favorable references to Palestine by citing the LBC/Soldjah song “Liberta Palestina.” It argues that the local language practices evident in Kriolu rap music illuminate an essential component of identity formation, namely, the ideological force of timeplace articulation, or chronotope.
E. Natalie Rothman
- Published in print:
- 2011
- Published Online:
- August 2016
- ISBN:
- 9780801449079
- eISBN:
- 9780801463112
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9780801449079.003.0004
- Subject:
- History, European Early Modern History
This chapter examines different genres of converts’ life narratives to illustrate the contrasting ways in which Muslim, Jewish, and Protestant converts to Catholicism articulated the process of ...
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This chapter examines different genres of converts’ life narratives to illustrate the contrasting ways in which Muslim, Jewish, and Protestant converts to Catholicism articulated the process of conversion and the converted self. It also analyzes how the genres envisioned the relationship among religious conversion, juridical subjecthood, and political loyalty. The examination suggests how the conversion and converts’ subjectivity itself were articulated in different genres by looking at reports penned by Venetian representatives in Istanbul about renegades who had “turned Turk,” inquisitorial depositions by Protestant subjects and by Muslims of presumed Christian background who sought reconciliation with the Church, converts’ matrimonial examinations, and baptismal records. Mikhail Bakhtin’s concept of the chronotope reveals two prototypical accounts of the spatiotemporal process of conversion prevalent in narratives of conversion to Catholicism from Ottoman Islam and Protestantism, respectively, and point to the key role of Venetian institutions and intermediaries in articulating both.Less
This chapter examines different genres of converts’ life narratives to illustrate the contrasting ways in which Muslim, Jewish, and Protestant converts to Catholicism articulated the process of conversion and the converted self. It also analyzes how the genres envisioned the relationship among religious conversion, juridical subjecthood, and political loyalty. The examination suggests how the conversion and converts’ subjectivity itself were articulated in different genres by looking at reports penned by Venetian representatives in Istanbul about renegades who had “turned Turk,” inquisitorial depositions by Protestant subjects and by Muslims of presumed Christian background who sought reconciliation with the Church, converts’ matrimonial examinations, and baptismal records. Mikhail Bakhtin’s concept of the chronotope reveals two prototypical accounts of the spatiotemporal process of conversion prevalent in narratives of conversion to Catholicism from Ottoman Islam and Protestantism, respectively, and point to the key role of Venetian institutions and intermediaries in articulating both.
