CHRONOTOP
CHRONOTOP
(literally "time-space")
unity of spatial and temporal parameters aimed at expressing def. (cultural, artistic) 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 the natural scientific discoveries of the beginning. 20th century 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, etc.). Hegel also interpreted these categories as interconnected and mutually defining. The emphasis placed by the discoveries of Einstein, Minkowski and others on the contain, determinacy of space and time, as well as their ambivalent relationship, is metaphorically reproduced in X. by Bakhtin. 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 in art. 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 spatio-temporal 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 view. 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.
B means. degree, the birth of this concept and its rooting in lawsuits. and aesthetic consciousness was inspired by the natural scientific discoveries of the beginning. 20th century 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 a relational (as opposed to substantial) understanding of space and time, begun in antiquity (Aristotle, St. Augustine, Leibniz, etc.). Hegel also interpreted these categories as interconnected and mutually defining. The emphasis placed on the discoveries of Einstein, Minkowski and others is on contain. the determinism of space and time, as well as their ambivalent relationship, are metaphorically reproduced in X. by Bakhtin. On the other hand, this term correlates with V.I. Vernadsky’s description of the noosphere (see Vernadsky, 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 both 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 in art. 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, both the author, the work itself, and the reader (listener, viewer) who perceive it have their own X (and the meanings they reveal). 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 the artist. work from this view. has a multilayer (“polyphonic”) structure.
Each of its levels represents a reciprocal connection of spaces. and time parameters, based on the unity of discrete and continuous principles, which makes it possible to translate spaces. parameters into temporary forms and vice versa. The more such layers (X.) are found in a work, the more polysemantic it is, “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 spaces. parameters are “shifted” to time coordinates; and spatiotemporal, in which X. of both types are present.
About chronotopic. the structure of the artist works can be spoken to the viewer. dept. plot motif (for example, X. threshold, road, life turning point, etc. in Dostoevsky’s poetics); in the aspect 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 a work, since such, for example, meaning-bearing categories as rhythm and symmetry are nothing more than a reciprocal connection of 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 dominant ones in it value orientations. 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, space-time thinking primitive people objective-sensual and timeless, since the consciousness of time is spatialized and at the same time sacralized and emotionally colored. Cultural X. Ancient East and antiquity is built by myth, in which time is cyclical, and space (Cosmos) is animated. Middle-century Christ consciousness has formed its 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. 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 other relations is 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 (in contrast to the consciousness of the ancients) there is practically no present.
Lit.: Rhythm, space and time in literature and art. L., 1974; Akhundov M.D. Concepts of space and time: origins, evolution, prospects. M., 1982; Gurevich A.Ya. Categories middle-century. culture. M., 1984; Bakhtin M.M. Forms of time and chronotope in the novel. Essays on history. poetics // Bakhtin M.M. Literary criticism articles. M., 1986; Space and time in art. L., 1988; Trubnikov N.N. Time is human. being. M., 1987; Florensky P.A. Time and space // Sociol. research. 1988. N 1; Time in Science and Philosophy. Prague, 1971.
N.D. Irza.
Cultural studies of the twentieth century. Encyclopedia. M.1996
Big explanatory dictionary in cultural studies.. Kononenko B.I. . 2003.
See what "CHRONOTOP" is in other dictionaries:
CHRONOTOP (“time-space”). In a narrow sense, an aesthetic category reflecting the ambivalent connection of temporal and spatial relations, artistically mastered and expressed with the help of appropriate visual arts in literature... ... Philosophical Encyclopedia
CHRONOTOP- (from Greek chronos time + topos place; literally timespace). Space and time are the harshest determinants of human existence, even harsher than society. Overcoming space and time and mastering them is an existential... ... Great psychological encyclopedia
- (from other Greek χρόνος, “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 to ... ... Wikipedia
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 dimension.
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 to the outside world, admits 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 all in to a greater extent is conceptualized as an important principle, a condition for the ascension of any science - including social and humanitarian sciences - to the level of a conceptual and 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 time factor into literary texts, clarifying his 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 artistic knowledge, "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.” So close attention 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 technique 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 compression - of time, the influence of dreams, witchcraft on it, i.e., becomes possible. 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 synchronism, the coexistence of times at one point in space, for example, thousand-year-old Rome - the “great chronotope” 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 was nearby in space into different time stages,” revealing modernity at the same time as multi-temporality - the remnants of the past and the beginnings future; thought about everyday life and national characteristics"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.
(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: important detailed description read and understand, 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 characteristics 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 significant artistic image: in "Grief" 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: they can combine in one work different types space (“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 pure form. We judge space by the objects that fill it (in in a broad sense), and about 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 succeeded either before or after him: 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 related to the depiction of psychological processes and subjective time of the 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 eventful time largely determines tempo organization of the artistic time of a work, which, in turn, determines the nature of aesthetic perception, forms the subjective reader's time. " Dead souls"Gogol, in which eventless, “chronic-everyday” time predominates, create 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 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 / Vice was always punished / There was a wreath 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
Historical development The spatio-temporal organization of the artistic world reveals a definite tendency towards complication. In the 19th and especially in the 20th centuries. writers use space-time composition as a special, conscious artistic technique; a kind of “game” begins with time and space. Its meaning, apparently, is to compare different times and space, 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 literature XIX-XX centuries individualization of spatio-temporal forms becomes, which is also associated with the development individual styles, and with the increasing originality of each writer’s concepts of the world and man.
Even more paradoxically, the image of the author in literature is experienced in works of the dramatic type. In principle, the artistic world of the play does not imply his direct presence. The author usually does not appear in the list of persons acting (as if independently). If the playwright allows himself to violate this traditional convention, for example, the same Blok in his “Balaganchik”, we will be dealing with a demonstrative violation of generic boundaries, the elimination of the ramp, a sabotage against the specifics of drama. Experiments of this kind were not successful and only confirmed the rule: the image of the author in a play is a negative quantity, significantly absent: it manifests itself until the work is completed and made public in the form of a text or performance. Its indirect, “preliminary” presence is manifested only in stage directions, prefaces, recommendations to the director, set designer and actors (Gogol in The Government Inspector).
Finally, the ancient choir, an organic component, appears to be a unique fusion of a collective lyrical hero with the image of a depersonalized author ancient Greek tragedy and comedy. Most often, of course, he was not a primitive mouthpiece for the author, but skillfully elevated his opinion to the rank of “popular opinion.” Modernized modifications of this technique were practiced in the dramaturgy of modern times (“Optimistic Tragedy” by Vs. Vishnevsky and “Irkutsk History” by N. Arbuzov). By the way, the silent masses in “Richard III” by W. Shakespeare and “Boris Godunov” by Pushkin are a paradoxically silent chorus, expressing the “voice of the people” as the “voice of God.” This is a formidable silence, rooted in the technique of “tragic silence”
The concept of "chronotope". Types of chronotope
Bakhtin. Forms of time and chronotope in the novel.
The chronotope in literature has a significant genre meaning.
We will call the essential interrelation of temporal and spatial relations, artistically mastered in literature chronotope(which literally means “time-space”)
Types of chronotopes:
Adventurous everyday chronotope.
It is characterized by adventurous time, which is made up of a number of short segments corresponding to individual adventures; inside each such adventure, time is organized externally - technically: it is important to have time to escape, to have time to catch up, to get ahead, to be or not to be just in at the moment in a certain place, to meet or not to meet, etc. Within a single adventure, days, nights, hours, even minutes and seconds count, as in any struggle and in any active external enterprise. These time periods are introduced and intersected by specific “suddenly” and “just in time”. Randomness (All moments of endless adventurous time are controlled by one force - chance. After all, all this time, as we see, is composed of random simultaneities and random divergences. Adventurous “chance time” is a specific time of intervention of irrational forces in human life,intervention of fate, gods, demons, magicians.
Biographical and autobiographical chronotope.
These ancient forms are based on new type biographical time and a new, specifically constructed image of a person going through his life path.
Types of autobiographies: The first type will be called conventionally the Platonic type. In Plato's scheme there is a moment of crisis and rebirth.
The second Greek type is rhetorical autobiography and biography.
This type is based on the “encomion” - a civil funeral and funeral speech, which replaced the ancient “patch” (“trenos”).
Rabelaisian chronotope.
The human body is depicted by Rabelais in several aspects. First of all, in the anatomical and physiological scientific aspect. Then in the buffoonish cynical aspect. Then in the aspect of fantastic grotesque analogy (man is a microcosm). And, finally, in the folklore aspect itself. These aspects are intertwined with each other and only rarely appear in their pure form.
Knight's chronotope.
In this wonderful world, feats are performed by which the heroes themselves are glorified and with which they glorify others (their overlord, their lady). The moment of feat sharply distinguishes the knightly adventure from the Greek one and brings it closer to an epic adventure. The moment of glory, glorification was also completely alien to the Greek novel and also brings the knightly novel closer to the epic. These features also determine the unique chronotope of this novel - a wonderful world in an adventurous time.
Idyllic chronotope.
In the special relationship of time to space in the idyll: organic attachment, increment of life and its events to place - to home country with all its corners, to the native mountains, native valley, native fields, river and forest, to home. Idyllic life and its events are inseparable from this specific spatial corner, where fathers and grandfathers lived, children and grandchildren will live. This spatial little world is limited and self-sufficient, not significantly connected with other places, with the rest of the world. Another feature of the idyll is its strict limitation to only the basic few realities of life. Love, birth, death, marriage, work, food and drink, ages - these are the basic realities of an idyllic life.
Functions of the chronotope:
· Defines artistic unity 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.
CHRONOTOP (from Greek χρόνος - time, τόπος - place) is a concept introduced into the field of humanities, aesthetics and poetics M. Bakhtin, denoting the relationship of artistic spatial and temporal characteristics of historical, cultural, genre and style communities of art or separate work. The scientist emphasized the formal and meaningful synthesis of the X category, with the help of which it is recorded how the signs of time are revealed in space, and space is measured by time, which determines the composition, genre and figurative-semantic, value-aesthetic content of artistic phenomena. In some types of art, time is the leader, in others - space. M. Bakhtin’s main work on this issue is “Forms of time and chronotope in the novel. Essays on Historical Poetics" (written in 1937-1938, published in 1975). In the notes, Bakhtin, referring to I. Kant’s “Transcendental Aesthetics” and the report of A.A. Ukhtomsky 1925 about X. in biology, defines his task as a research analysis of X. in the process of specific artistic vision in the context of the novel genre.
Turning to the origins of the European novel, in particular to the Greek novel, Bakhtin identifies, firstly, the adventurous novel time, which is characterized by timelessness, a gap between the main moments of biographical time. The intervention of fate and irrational forces in human life is concentrated in such gaps, which are indicated by “suddenly” and “just in time.” Adventurous time is associated with the motive of meeting, and the latter is associated with the motive of separation, escape, acquisition, loss. Hence, X is so universal for art, like a road. Secondly, bucolic, or pastoral-idyllic, X. stands out, in which natural cycles have merged with the landscape. Thirdly, in the so-called geographical novel X. is a forced movement in space, in which the hero maintains identity with himself.
The adventurous everyday novel of the Roman-Hellenistic era is characterized by X. wanderings and metamorphoses, in which transformation and identity were combined, which is specific to the Hellenistic diatribe, and to early Christian hagiographic literature, and to philosophical works, and for ancient mysteries. Here we observe not formation, but crisis and rebirth. Everyday time merges with the real path, the road through the native country.
Occupies a special place in this regard biographical novel, leading from Plato’s Apology of Socrates and Phaedo. A person here is open from all sides, public, therefore the real X. is the square (“agora”), but in antiquity it is the state itself, the highest court, science, art.
Bakhtin also analyzes X. of the chivalric novel. An interesting analysis of X. in Dante as the forerunner of Dostoevsky: here is the struggle of living historical time with timeless ideality, “the vertical compresses the horizontal powerfully rushing forward.” In Rabelaisian X. Bakhtin distinguishes the category of growth, spatial and temporal distances; time here is deeply spatial. On the other hand, the idyllic type of restoration of the ancient complex and folklore time in the European novel indicate that the space in them holds together, brings together the cradle and grave, childhood and old age, the life of generations. In the novel of the New Age, X. meetings and roads are transformed. In it, time flows into space. The role of the castle in the “Gothic”, “black” novel of the 18th century, as a space saturated with time, noticeably increases. U Balzac and Stendhal, the living room and salon become the centers of political and business life and the intersection of the spatial and temporal series of the novel. The role of the threshold as X. crisis in Dostoevsky is interesting.
For Bakhtin, there is no doubt that in art “eternity and boundlessness themselves will receive a value meaning only in correlation with the deterministic life” of a person.
Literature:
Bakhtin M.M. Questions of literature and aesthetics. M., 1975;
It's him. Aesthetics verbal creativity. M., 1979.
Dictionary of philosophical terms. Scientific edition of Professor V.G. Kuznetsova. M., INFRA-M, 2007, p. 654-655.