Chronotope examples. The concept of chronotope. Types of chronotope. Types of private chronotopes according to Bakhtin
Chronotope(“time” and τόπος, “place”) - “a regular connection of space-time coordinates.” The term introduced by A.A. Ukhtomsky in the context of his physiological research, and then (at the initiative of M. M. Bakhtin) moved into the humanitarian sphere. “Ukhtomsky proceeded from the fact that heterochrony is a condition for possible harmony: linkage in time, speed, rhythms of action, and therefore in the timing of the implementation of individual elements, forms a functionally defined “center” from spatially separated groups.” Ukhtomsky refers to Einstein, mentioning the “fusion of space and time” in Minkowski space. However, he introduces this concept into the context of human perception: “from the point of view of the chronotope, there are no longer abstract points, but living and indelible events from existence.”
MM. Bakhtin also understood chronotope as “an essential interconnection of temporal and spatial relations.”
“The chronotope in literature has significant genre significance. We can directly say that the genre and genre varieties are determined precisely by the chronotope, and in literature the leading principle in the chronotope is time. Chronotope as a formal and meaningful category determines (to a large extent) the image of a person in literature; this image is always essentially chronotopic. ... The development of the real historical chronotope in literature was complicated and discontinuous: they mastered certain specific aspects of the chronotope that were available in given historical conditions, and only certain forms of artistic reflection of the real chronotope were developed. These genre forms, productive at the beginning, were consolidated by tradition and in subsequent development continued to stubbornly exist even when they had completely lost their realistically productive and adequate meaning. Hence the existence in literature of phenomena that are deeply different in time, which extremely complicates the historical and literary process.”
Bakhtin M. M. Forms of time and chronotope in the novel
Thanks to Bakhtin's works, the term has become widespread in Russian and foreign literary criticism. Among historians, it was actively used by medievalist Aron Gurevich.
In social psychology, a chronotope is understood as a certain characteristic communicative situation that is repeated in a certain time and place. “We know the chronotope of a school lesson, where the forms of communication are set by the traditions of teaching, the chronotope of a hospital ward, where the dominant attitudes (an acute desire to be cured, hopes, doubts, homesickness) leave a specific imprint on the subject of communication, etc.”
Bakhtin defines the concept of chronotope as a significant interconnection of temporal and spatial relations, artistically mastered in literature. “In the literary and artistic chronotope there is a merging of spatial and temporal signs into a meaningful and concrete whole. Time here thickens, becomes denser, becomes artistically visible; space is intensified, drawn into the movement of time, the plot of history. Signs
times are revealed in space, and space is comprehended and measured by time.” Chronotope is a formal-content category of literature. At the same time, Bakhtin also mentions
a broader concept of “artistic chronotope”, which is
the intersection of time and space in a work of art and
expressing the continuity of time and space, the interpretation of time as
fourth dimension of space.
Bakhtin notes that the term “chronotope”, introduced and justified in theory
Einstein's relativity and widely used in mathematics
natural science, is transferred to literary criticism “almost like a metaphor (almost, but
not really)"
Bakhtin transfers the term “chronotope” from mathematical natural science to
literary criticism and even connects its “timespace” with general theory
Einstein's relativity. This remark seems to need
clarification. The term "chronotope" was actually used in the 20s. of the past
century in physics and could be used by analogy also in literary criticism.
But the very idea of the continuity of space and time, which is intended to denote
this term developed in aesthetics itself, much earlier than the theory
Einstein, who linked together physical time and physical space and
which made time the fourth dimension of space. Bakhtin himself mentions, in
in particular, “Laocoon” by G.E. Lessing, in which the principle was first revealed
chronotopic character of the artistic and literary image. Description static
spatial must be involved in the time series of depicted events
and the story-image itself. In Lessing's famous example, the beauty of Helen
is not described statically by Homer, but is shown through its effect on
Trojan elders, is revealed in their movements and actions. Thus,
the concept of chronotope gradually took shape in literary criticism itself, and not
was mechanically transferred into it from a completely different nature
scientific discipline.
Is it difficult to claim that the concept of chrontope applies to all types of art? IN
In the spirit of Bakhtin, all arts can be divided depending on their relationship to
time and space into temporal (music), spatial (painting,
sculpture) and space-time (literature, theater), depicting
spatial-sensory phenomena in their movement and formation. When
temporal and spatial arts, the concept of a chronotope that links together
time and space, if applicable, then to a very limited extent. Music
does not unfold in space, painting and sculpture are almost
momentary, because they reflect movement and change very restrainedly.
The concept of chronotope is largely metaphorical. If used in relation to
to music, painting, sculpture and similar forms of art, it
turns into a very vague metaphor.
Since the concept of chronotope is effectively applicable only in the case
space-time arts, it is not universal. With all
its significance, it turns out to be useful only in the case of arts that have
a plot unfolding both in time and space.
In contrast to the chronotope, the concept of artistic space, expressing
the relationship between the elements of a work and creating a special aesthetic
unity, universal. If artistic space is understood in
in a broad sense and is not limited to displaying the placement of objects in real
space, we can talk about artistic space not only painting
and sculpture, but also about the artistic space of literature, theater, music
The peculiarity of M. M. Bakhtin’s description of the categories of space and time,
the study of which in different models of the world later became one of the main
directions of research of secondary modeling semiotic systems,
is the introduction of the concept of “chronotope”. In his report, read in 1938
year, the properties of the novel as a genre M. M. Bakhtin largely derived from
“revolution in the hierarchy of times”, changes in the “temporal model of the world”,
orientation towards the unfinished present. Consideration here - according to
ideas discussed above - is both semiotic and
axiological, since “value-time categories” are studied,
determining the significance of one time in relation to another: value
the past in the epic is contrasted with the value of the present for the novel. IN
in terms of structural linguistics one could talk about change
correlations of times according to markedness (signature) - unmarkedness.
Recreating the medieval picture of space, Bakhtin came to the conclusion that
“This picture is characterized by a certain value-based emphasis on space:
spatial steps going from bottom to top strictly corresponded
value levels" . With this
the role of the vertical is associated (ibid.): “That concrete and visible model of the world,
which underlay medieval figurative thinking was essentially
vertical, which is not visible
only in the system of images and metaphors, but, for example, also in the image of the path in
medieval travel accounts. P. A. Florensky came to similar conclusions,
who noted that “Christian art advanced the vertical and gave it
significant dominance over other coordinates<.„>Middle Ages
enhances this stylistic feature of Christian art and gives
vertical is completely predominant, and this process is observed in the western
medieval fresco"<...>"the most important basis of stylistic
originality and artistic spirit of the century determines the choice of the dominant
coordinates"
This idea is confirmed by M. M. Bakhtin’s analysis of the chronotope
novel of the transition period to the Renaissance from the hierarchical vertical
medieval painting to the horizontal, where movement in
time from past to future.
The concept of "chronotope" is a rationalized terminological equivalent to
the concept of that “value structure”, the immanent presence of which is
characteristics of a work of art. Now it is possible with sufficient
assert with some confidence that pure “vertical” and pure “horizontal”,
unacceptable because of their monotony, Bakhtin opposed the “chronotope”,
combining both coordinates. Chrontop creates a special “volumetric” unity
Bakhtin's world, the unity of its value and time dimensions. And that's the point
not in the banal post-Einsteinian image of time as the fourth dimension
space; Bakhtin's chronotope in its value unity is built on
the crossing of two fundamentally different directions of moral efforts
subject: directions to the “other” (horizontal, time-space, given
world) and direction to the “I” (vertical, “big time”, sphere of the “given”).
This gives the work not just physical and not only semantic, but
artistic volume.
CHRONOTOP
(literally "time-space")
unity of spatial and temporal parameters aimed at expression def. (cultural, artist) sense. The term X. was first used in psychology by Ukhtomsky. It became widespread in literature and then in aesthetics thanks to the works of Bakhtin.
This means the birth of this concept and its rooting in the law. and aesthetic consciousness was inspired by natural scientific discoveries beginning 20 V. and radical changes in ideas about the picture of the world as a whole. In accordance with them, space and time are conceived as “interconnected coordinates of a single four-dimensional continuum, meaningfully dependent on the reality they describe. In essence, this interpretation continues the tradition of relationalism that began in antiquity (as opposed to substantial) understanding of space and time (Aristotle, St. Augustine, Leibniz and etc.) . Hegel also interpreted these categories as interconnected and mutually defining. The emphasis placed on the discoveries of Einstein, Minkowski and etc. not contain, the determinism of space and time, as well as their ambivalent relationship, are metaphorically reproduced in X. by Bakhtin. WITH etc. On the other hand, this term correlates with V.I. Vernadsky’s description of the noosphere, characterized by a single space-time associated with the spiritual dimension of life. It is fundamentally different from psychology. space and time, which have their own characteristics in perception. Here, as in Bakhtin’s X., we mean simultaneously spiritual and material reality, with man at the center.
Central to the understanding of X., according to Bakhtin, is axiological. the orientation of space-time unity, the function of which is artist the work consists in expressing a personal position, meaning: “Entry into the sphere of meanings occurs only through gate X.” In other words, the meanings contained in a work can be objectified only through their spatiotemporal expression. Moreover, with their own X. (and the meanings they reveal) possessed by both the author, the work itself, and the reader who perceives it (listener, viewer). Thus, understanding a work, its sociocultural objectification is, according to Bakhtin, one of the manifestations of the dialogical nature of being.
X. is individual for each meaning, therefore hu-doge. work from this t.zr. has a multi-layer ("polyphonic") structure.
Each of its levels represents a reciprocal connection of spaces. and temporary parameters, based on the unity of discrete and continuous principles, which makes it possible to translate spaces and parameters into temporary forms and vice versa. The more such layers are revealed in a work (X.), especially since it is polysemantic, “much-meaningful.”
Each type of art is characterized by its own type of X., determined by its “matter”. In accordance with this, the arts are divided into: spatial, in chronotopes of which temporal qualities are expressed in space. forms; temporary, where space parameters are “shifted” to temporary coordinates; and spatiotemporal, in which X. of both types are present.
About chronotopic. structure artist works can be spoken with t.zr.department plot motive (e.g. X. threshold, road, life turning point and etc. in the poetics of Dostoevsky); in terms of its genre definition (on this basis, Bakhtin distinguishes the genres of adventure novel, adventure novel, biographer, knightly, etc.); in relation to the individual style of the author (carnival and mystery time in Dostoevsky and biogr. time in L. Tolstoy); in connection with the organization of the form of the work, since such eg, meaning-bearing categories like rhythm and symmetry are nothing more than a reciprocal connection between space and time, based on the unity of discrete and continuous principles.
X., expressing common features artist spatio-temporal organization in a given cultural system, testify to the spirit and direction of the value orientations dominant in it. In this case, space and time are thought of as abstractions, through which it is possible to construct a picture of a unified cosmos, a single and ordered Universe. For example, the spatio-temporal thinking of primitive people is objective-sensual and timeless, since the consciousness of time is spatialized and at the same time sacralized and emotionally charged. Cultural X. of the Ancient East and antiquity is built by myth, in which time is cyclical, and space (Space) animated. Middle-century Christ consciousness has formed its own X, consisting of linear irreversible time and hierarchically structured, thoroughly symbolic space, the ideal expression of which is the microcosm of the temple. The Renaissance created X., which is in many ways relevant for modern times.
The opposition of man to the world as a subject-object made it possible to realize and measure its spaces and depth. At the same time, qualityless dismembered time appears. The emergence of unified temporal thinking and space alienated from humans, characteristic of the New Age, made these categories abstractions, which is recorded in Newtonian physics and Cartesian philosophy.
Modern culture with all the complexity and diversity of its social, national, mental and etc. relationships are characterized by many different X.; Among them, the most revealing is, perhaps, the one that expresses the image of compressed space and flowing ("lost") time, in which (as opposed to the consciousness of the ancients) there is practically no present.
CHRONOTOP
- (from the Greek chronos - time and topos - place) - image (reflection) of time and space in a work of art in their unity, interconnection and mutual influence. The term was introduced by M.M. Bakhtin. X. reproduces the spatio-temporal picture of the world and organizes the composition (see composition) of the work, but at the same time it does not directly, directly reflect time and space, but draws their conventional image, therefore, in a work of art, artistic time and artistic space are not identical to real ones, it is namely, images of time and space with their own characteristics and characteristics. For example, time in a literary work can be either correlated or not correlated with the historical, can be continuous (linearly unfolding) or have temporary rearrangements (see inversion composition, flashback), can be intentionally slowed down by the author (see retardation) or collapsed to stage directions (cf.: the deliberately slowly moving or even “stopping” psychological time reflected in the hero’s consciousness in individual episodes of F.M. Dostoevsky’s novel “Crime and Punishment” and the movement of time indicated by one phrase “a year has passed” in the story by A.P. Chekhov's "Ionych", motivated by the fact that the events that occurred during the specified period are not important for the further development of the action); can occur in parallel in different plot lines of the work (for example, Tolstoy’s technique of depicting simultaneous action in different points of space in the novel “War and Peace” is conventionally called “while”: “While the Rostovs were dancing in the hall of the sixth English... . The sixth blow struck Count Bezukhov." The artistic space created by the writer is a certain model, a picture of the world in which the action takes place. The space can be wide or narrow, open or closed (for example, in F. M. Dostoevsky’s novel “Crime and Punishment” Raskolnikov’s closet is closed, the opposite bank of the Ob River, which the hero sees in the epilogue, is an open, open space), real (as in the chronicle) or fictional (as in a fairy tale, in a work of science fiction). Various components of poetry in works can often have a symbolic meaning. In Russian literature we can talk about the special meaning of such elements of history as city and village, earth and sky, road, garden, house, estate, threshold, staircase, etc. (spatial symbols) and the change of seasons, the transition from day to day by night, etc. (temporary symbols). In addition, according to M.M. Bakhtin, the genre specificity of the work is determined primarily by H. (for example, historical or fantastic time and space in a ballad (see ballad), epic time in works of epic genres (see epic), subjectively reflected time and space in lyrical ones (see lyrics), etc.).
Dictionary of literary terms. 2012
(textbook Chernets)
Don’t be alarmed that there is so much: it’s all quite easy, the main thing is to read and understand once, and remember what is underlined/bold/marked J I left the most understandable, important and necessary with examples.
Chronotope - this is the unity of place, time and action;
Essential, natural interrelation of temporal and spatial relations.
The natural forms of existence of our world are time And space. However art world, or the world of the work, always conditional to one degree or another: it exists image reality. Time and space in literature are thus also conditional. Time here thickens, becomes denser, becomes artistically visible; space is drawn into the movement of time, plot, history. In particular, events occurring simultaneously in different places can be depicted. Equally simple are transitions from one time plane to another (especially from the present to the past and back).
I. Time and space in literature intermittent (discrete).
Literature turns out to be capable of not reproducing all the flow of time, but select the most significant fragments from it, designating gaps (“voids”, from an artistic point of view) with formulas like: “how long, how short,” “several days have passed,” etc.
As for space, an instantaneous change in space-time coordinates (for example, transferring an action from one city to another) makes it unnecessary to describe the intermediate space (for example, a road). The discrete nature of space itself is manifested primarily in the fact that it is usually not described in detail, but is only indicated with the help of individual details that are most significant for the author. The rest (as a rule, a large part) is “finished” in the reader’s imagination (for example, the scene of action in M.Yu. Lermontov’s poem “Borodino” is indicated by a few details: “large field”, “redoubt”, “guns and blue-topped forests” ).
II. The nature of the conventions of time and space greatly depends from the type of literature.
A) Lyrics. Conditionality is maximum in lyrics, where the image of space may be completely absent or it is allegorical: the desert in Pushkin’s “Prophet”, the sea in Lermontov’s “Sail” denote much broader and deeper concepts - human life. Lyrics are also characterized by the ubiquitous interaction of time plans: past, present and future.
b) Epic. The next type of literature by conventional chronotope is epic. Here the fragmentation of time and space, transitions from one time to another, spatial movements are carried out easily and freely thanks to the figure narrator- an intermediary between the depicted life and the reader. The narrator can “compress” and, on the contrary, “stretch” time, or even stop it (in descriptions, reasoning).
V) Drama. The chronotope in drama is the least conventional, which is mainly due to its orientation towards the theater. With all the variety of organization of time and space in drama, it is committed to pictures that are closed in space and time (what happens in one scene remains within the same time and space).
III. Characteristics of artistic time and space:
(first briefly, then about each in detail: it is important to read and understand the detailed description, but you can only say the names of the characteristics)
· abstractness/concreteness
· higher/lower saturation
· time: shorter/longer than real
· time: narrative pace: more/less fast
· completeness/incompleteness
1) Abstractness/concreteness.
According to the peculiarities of artistic convention, time and space in literature (in all its types) can be divided into abstract And specific.
Abstract time/space can be perceived as universal(everywhere or nowhere, always or never). It does not have a pronounced characteristic and therefore, even when specifically designated, does not have a significant impact on the characters and behavior of the characters, on the essence of the conflict, does not set an emotional tone, is not subject to active authorial comprehension, etc. “Universal” space dominates in the dramaturgy of classicism , in parables, fables, fantasy and science fiction. Abstract space and time are used as a global generalization, a symbol, as a form of expression universal content (applied to all humanity), e.g. – abstract tense: “The strong Always the powerless is to blame” (fable “The Wolf and the Lamb” by I.A. Krylov).
On the contrary, space and time specific not only “ties” the depicted world to certain topographical realities, but actively influences the essence of what is depicted. For example, Griboyedov’s Moscow is a significant artistic image: in “Mountain from mind" constantly talk about Moscow and its topographical realities (Kuznetsky Most, English Klob, etc.), and these realities are extremely significant. The degree of specificity of the chronotope is different: time can be indicated by specific days (“War and Peace” by L.N. Tolstoy), and in other works it can be restored based on indirect signs (for example, “Hero of Our Time”).
Of course, there is no impassable border between concrete and abstract spaces: different types of space can be combined in one work (“The Master and Margarita” by M. Bulgakov).
2) Higher/lower saturation.
Both in life and in literature, space and time are not given to us in their pure form. We judge space by the objects that fill it (in a broad sense), and we judge time by the processes occurring in it. To analyze a work, it is important to at least approximately (more/less) determine the occupancy, saturation of space and time, since this indicator in many cases characterizes style works, writer, direction. For example, in Gogol the space is usually filled as much as possible with some objects, especially things. And in Lermontov’s style system, the space is practically empty: it contains only what is necessary for the plot and depiction of the inner world of the characters. The intensity of artistic time is expressed in its saturation with events; there is also a gradation here. Dostoevsky, Bulgakov, Mayakovsky had an extremely busy time. Chekhov succeeded in something that perhaps no one before or after him succeeded in: he managed to sharply reduce the intensity of time even in dramatic works, which in principle tend to concentrate action.
3) Time: shorter/longer than actual
In most cases, artistic time is shorter than “real” time: this is where the law of “poetic economy” manifests itself. However, there is an important exception associated with the depiction of psychological processes and subjective time of a character or lyrical hero. Experiences and thoughts, unlike other processes, proceed faster than the flow of speech, which forms the basis of literary imagery.
4) Narration pace: more/less fast
The relationship between eventless, chronicle-everyday, and eventual time largely determines tempo organization of the artistic time of a work, which, in turn, determines the nature of aesthetic perception, forms subjective reader's time. Gogol’s “Dead Souls,” in which eventless, “chronicle-everyday” time predominates, creates the impression slow pace and require an appropriate “reading mode” and emotional mood. (Artistic time is leisurely; the same should be the time of perception.) There is a different tempo organization in Dostoevsky’s novel Crime and Punishment, in which event time predominates (meaning, of course, not only externally, but also internal, psychological events). Accordingly, both the module of its perception and the subjective pace of reading will be different: often the novel is read “absorbedly,” especially for the first time.
5) Completeness/incompleteness
Important for analysis is completeness And incompleteness artistic time. Writers often create in their works closed time, which has both an absolute beginning and, more importantly, an absolute end, which, as a rule, represents both the completion of the plot and the denouement of the conflict, and in the lyrics - the exhaustion of a given experience or reflection. From the early stages of the development of literature and almost until the 19th century. such temporary completeness was practically obligatory and was, apparently, a sign of artistry. The forms of completion of artistic time were varied: this was the return of the hero to his father’s house after wanderings (literary interpretations of the parable of the prodigal son), and his achievement of a certain stable position in life (adventurous novel), and the “triumph of virtue” (“And at the end of the last part /A vice was always punished/A wreath was worthy of good,” as Pushkin wrote), and the final victory of the hero over the enemy, and, of course, the death of the main character or the wedding.
Pushkin, in particular, ironized over the last two ways to “round off” a work of art, one of the first in Russian literature to find the principle open ending, reflecting the incompleteness of time and space.
IV. Trends in the development of chronotope in literature:
1) Complication
The historical development of the spatio-temporal organization of the artistic world reveals a very definite tendency towards complication. In the 19th and especially in the 20th centuries. writers use space-time composition as a special, conscious artistic device; a kind of “game” begins with time and space. Its meaning, apparently, is to compare different times and spaces, to identify both the characteristic properties of “here” and “now”, and the general, universal laws of existence, to comprehend the world in its unity.
2) Personalization
Another trend in literature of the 19th-20th centuries. individualization of spatio-temporal forms becomes possible, which is associated both with the development of individual styles and with the increasing originality of each writer’s concepts of the world and man.
It is impossible to separate the spatio-temporal characteristics of processes and events either in nature or in socio-spiritual life.
“Chronotope” (from the Greek chronos - time + topos - place), expressing the unity of the spatio-temporal dimension associated with the cultural and historical meaning of events and phenomena.
The concept of “chronotope” reflects the universality of space-time relations: it is applicable not only to material, but also to ideal processes.
The study of culture requires taking into account the unity of space-time dimensions.
One of the first to use this concept was neurophysiologist A. Ukhtomsky: he introduced the concept of “chronotope” into psychology and neurophysiology, assessing it as a dominant of consciousness, a center and focus of excitation, prompting the body in a specific situation to take certain actions.
M. Bakhtin used the concept of “chronotope” in literary criticism and aesthetics in his work “Essays on Historical Poetics.” These were the first projections of the idea of the interconnection of spatial and temporal relations into the plane of humanitarian knowledge.
Bakhtin introduced the concept of chronotope - a specific unity of spatio-temporal characteristics for a specific situation. He accepts Kant's assessment of the significance of space and time as necessary forms of all knowledge, but understands them not as transcendental, but as a form of reality itself.
The phenomenon of sub-play with time, space-time perspectives - the so-called. historical inversion, i.e. a depiction in the past of what in fact can only be in the future; stretching or compressing time in dreams as a result of witchcraft. This is the peculiarity of human and artistic consciousness - in its internal time it has full rights. Therefore it is worth distinguishing
· awareness of time - must be objective, accurately reflect its real flow
· time of consciousness – not tied to the outside world, allows for the absence of a time vector.
Thus, Bakhtin proposed a non-classical vision of human cognition: in addition to subject-object relations, it includes a synthesis of cognitive, value (ethical and aesthetic), as well as spatio-temporal relations. The philosophy of science of the 21st century should be built on this basis.
Bakhtin developed the idea of a chronotope, which made it possible to create a unique ontology of the novel. “In the literary and artistic chronotope there is a merging of spatial and temporal signs into a meaningful and concrete whole. Time here thickens, becomes denser, becomes artistically visible, while space intensifies, is drawn into the movement of time, plot, history. Signs of time are revealed in space, and space is comprehended and measured by time. This intersection of rows and merging of signs characterizes the artistic chronotope.”
The introduction of the chronotope allowed M.M. Bakhtin to reconstruct the logic of the formation of the novel depending on the depth of inclusion of space-time in it, starting from the adventurous Greek novel with its extremely abstract indicators of space-time to the chronotope in the novels of F. Rabelais, in which very specifically “everything turns into everything.” MM. Bakhtin proved that it is the boundary of the genre that constitutes the boundary within which the chronotope of the novel as an object is formed, defining the exact genre boundaries of the chronotope in literature.
All this indicates that the space-time continuum is increasingly understood as an important principle, a condition for the ascension of any science - including social and humanitarian science - to the level of a conceptual-theoretical system. Therefore, it seems legitimate to raise the question of the possibility of its inclusion in the study of culture and to assume that the continuum exists in a hidden form in culture, and it is necessary to open it and clarify its nature.
A special topic to which so far undeservedly few works have been devoted is the introduction of the factor of time into literary texts, clarification of its role, image and methods of presence. reversibility, changes in flow rate and many other properties that are not inherent in real physical time, but are significant in art and culture in general. So, M.M. Bakhtin connects consciousness and “all conceivable spatial and temporal relations” into a single center. Rethinking the categories of space and time in a humanitarian context, he introduced the concept of chronotope as a specific situation. Bakhtin left a kind of model for the analysis of temporal and spatial relations and ways of “introducing” them into literary and literary texts. Taking the term “chronotope” from the natural science texts of A.A. Ukhtomsky, Bakhtin did not limit himself to the naturalistic idea of the chronotope as a physical unity, the integrity of time and space, but filled it with humanistic, cultural, historical and value meanings. He strives to reveal the role of these forms in the process of artistic cognition, “artistic vision.” Also justifying the need for a single term, Bakhtin explains that in the “artistic chronotope” there is an “intersection of rows and a merging of signs” - “time here thickens, becomes denser, becomes artistically visible; space intensifies, is drawn into the movement of time, movement, history. Signs times are revealed in space, and space is comprehended and measured by time."
In the context of Bakhtin’s historical poetics and the identification of the pictorial meaning of chronotopes, the phenomenon designated as a subjective play with time and space-time perspectives should not go unnoticed. This is a phenomenon specific to artistic, and generally humanitarian, reality - the transformation of time or chronotope under the influence of the “mighty will of the artist.” Such close attention of Bakhtin himself to the “subjective game” and the richness of the forms of time identified in this case force us to assume that behind the artistic device there are also more fundamental properties and relationships. The “play with time” is most clearly manifested in the adventurous time of a chivalric romance, where time breaks up into a number of segments, is organized “abstractly and technically”, and appears at “break points (in the emerging gap)” of real time series, where the pattern is suddenly broken. Here hyperbolism - stretching or compressing - time becomes possible, the influence of dreams, witchcraft on it, i.e. violation of elementary temporal (and spatial) relationships and perspectives.
Rich possibilities for epistemology are also fraught with Bakhtin’s text on time and space in the works of Goethe, who had “exceptional chronotopic vision and thinking,” although the ability to see time in space, in nature, was also noted by Bakhtin in O. de Balzac, J.J. Russo and W. Scott. He read Goethe's texts in a special way. In the first place he put his “ability to see time”, ideas about the visible form of time in space, the completeness of time as synchronicity, the coexistence of times at one point in space, for example, thousand-year-old Rome - “the great chronotope of human history.” Following Goethe, he emphasized that the past itself must be creative, i.e. effective in the present; Bakhtin noted that Goethe “dispersed what lay nearby in space into different time stages”, revealed modernity at the same time as multitemporality - the remnants of the past and the beginnings of the future; reflected on the everyday and national characteristics of the “sense of time.”
In general, reflections on Bakhtin’s texts about the forms of time and space in artistic and humanitarian texts lead to the idea of the possibility of transforming the chronotope into a universal, fundamental category, which can become one of the fundamentally new foundations of epistemology, which has not yet been fully mastered and even avoided specific spatiotemporal characteristics of knowledge and cognitive activity.
Space and time in a literary work. Types of artistic time and space. The concept of chronotope. Functions and types of chronotopes.
Hood literature (in this respect, theater and cinema are similar to it) reproduces life processes occurring in time, that is, human life associated with a chain of experiences, thoughts, intentions, actions, events.
Aristotle was the first to connect “space and time” with the meaning of a work of art. Then the ideas about these categories were carried out by: Likhachev, Bakhtin. Thanks to their works, “space and time” became established as the basis of literary categories. In any case the work inevitably reflects real time and space. As a result, a whole system of spatio-temporal relations develops in the work.
Artistic time And artistic space - this is the nature of the artistic image, which provides a holistic perception artistic reality and organizes the compositional work.
Artistic time And space symbolic. Basic spatial symbols: house (image of a closed space), space (image of an open space), threshold, window, door (border). In modern literature: train station, airport (places of decisive meetings).
Artistic space can be: point, volumetric.
Artistic space Dostoevsky's novels are a stage. Time in his novels moves very quickly, but in Chekhov time has stopped.
The famous physiologist Ukhtomsky combined two Greek words: chronos- time,topos- place into the concept chronotope– space-time complex.
MM. Bakhtin in his work “Forms of Time and Chronotope” in the novel explores chronotope in novels of different eras since antiquity. He showed that chronotopes different authors and different eras differ from each other.
Bakhtin: term "chronotope" For him these are two indivisible things, synthesis, unity.
Chronotope – a significant interrelation of temporal and spatial relations, artistically mastered in literature or in a literary work.
According to Bakhtin, the chronotope is primarily an attribute of the novel. It has plot significance. Space structure built on opposition: top-bottom, sky-earth, earth-underworld, north-south, left-right, closed-open.
Time structure : day-night, spring-autumn, light-dark, etc.
Functions of the chronotope:
Determines the artistic unity of a literary work in its relation to reality;
Organizes the space of the work, leads readers into it;
Can relate different space and time;
Can build a chain of associations in the reader’s mind and, on this basis, connect works with ideas about the world and expand these ideas.
In addition, both time and space distinguish between the concrete and the abstract. If time is abstract, then space is abstract, and vice versa.
Types of private chronotopes according to Bakhtin:
The chronotope of the road is based on the motive of a chance meeting.
The appearance of this motif in the text can cause a plot. Open space.
The chronotope of a private salon is a non-random meeting. Closed space.
chronotope of the castle (it is not found in Russian literature).
The dominance of the historical, tribal past. Limited space.
The chronotope of a provincial town is eventless time, a closed, self-sufficient space, living its own life.
Time is cyclical, but not sacred.
chronotype of threshold (crisis consciousness, turning point). There is no biography as such, only moments.
Large chronotope:
Folklore (idyllic). Based on the law of inversion.
Trends in modern chronotope:
mythologization and symbolization
doubling
recalling a character's memory
