This article contributes to the scholarly discourse on Mikhail Bakhtin’s ambiguous concept of “chronotope” (time-space). As Bakhtin “explains” his understanding of “time” and “space” in Forms of Time ...and Chronotope in the Novel in the footnote alluding to Kant’s “Transcendental Aesthetics”, claiming to understand “time” and “space” not as “transcendental” but as the forms of the “most immediate reality”, various commentators have focused on the Bakhtin-Kant connection to grasp the term’s conceptual meaning. Responding to the previous scholarly discourse, which has not taken into the consideration the materialist dimension of Bakhtin’s thought, the study reconstructs Bakhtin’s axiology present in his analysis of particular chronotopes and subsequently illustrates chronotope as a materialist anti-ideological tool.
Entgegen der Popularität von Joachim Ringelnatz’ (1883–1934) Märchen beim Lesepublikum, fehlt bislang eine diachrone Betrachtung seiner Neigung zur Märchengattung im Gesamtkontext der Entwicklung ...seiner Poetik. Die Forschungen zu seinen experimentellen Nachkriegsmärchen erläutern deren spezifische tonangebenden, disharmonischen Merkmale und deren Subversion der herkömmlichen Märchenerzählverfahren ausschließlich im Rahmen synchroner—autobiographischer oder parodistischer—Kontexte, welche es nicht ermöglichen, das primäre konstitutive Moment ihres destruktiven Charakters deutlich aufzuzeigen. Daher interpretiert dieser Beitrag Ringelnatz’ bislang unerforschte, auf neoromantische Weise optimistische Einstellung zur Märchengattung im Rahmen seiner Vorkriegswerke: im Gedicht
Ein Traum
(1906), in den Märchen
Der ehrliche Seemann
(1908),
Der Wunderbrunnen
(1913), und in der Märchenerzählung
Phantasie
(1912). Sein Märchenwerk aus der Vorkriegszeit zeichnet sich durch die Schaffung von Seelenräumen aus, in denen die Neigung zum Seelenleben und zur Kindlichkeit als eine Modalität der transzendentalen Erfahrung der Selbstharmonisierung mit der Welt angedeutet wird. Im Vergleich zur neoromantischen (seelenbeschwörenden) Chronotopik seiner Vorkriegsmärchen erweisen sich die Märchenwerke der Kriegs- und Nachkriegszeit als konzentrierter Ausdruck des enttäuschten Verlusts des Glaubens an das ontologische Potential der Märchengattung und an die inhärente Güte und Transzendenzfähigkeit der menschlichen Innerlichkeit. Ihre Chronotopik stellt eine gezielte Negation der romantischen Märchenchronotopik dar.
Abstract Entgegen der Popularität von Joachim Ringelnatz’ (1883–1934) Märchen beim Lesepublikum, fehlt bislang eine diachrone Betrachtung seiner Neigung zur Märchengattung im Gesamtkontext der ...Entwicklung seiner Poetik. Die Forschungen zu seinen experimentellen Nachkriegsmärchen erläutern deren spezifische tonangebenden, disharmonischen Merkmale und deren Subversion der herkömmlichen Märchenerzählverfahren ausschließlich im Rahmen synchroner—autobiographischer oder parodistischer—Kontexte, welche es nicht ermöglichen, das primäre konstitutive Moment ihres destruktiven Charakters deutlich aufzuzeigen. Daher interpretiert dieser Beitrag Ringelnatz’ bislang unerforschte, auf neoromantische Weise optimistische Einstellung zur Märchengattung im Rahmen seiner Vorkriegswerke: im Gedicht Ein Traum (1906), in den Märchen Der ehrliche Seemann (1908), Der Wunderbrunnen (1913), und in der Märchenerzählung Phantasie (1912). Sein Märchenwerk aus der Vorkriegszeit zeichnet sich durch die Schaffung von Seelenräumen aus, in denen die Neigung zum Seelenleben und zur Kindlichkeit als eine Modalität der transzendentalen Erfahrung der Selbstharmonisierung mit der Welt angedeutet wird. Im Vergleich zur neoromantischen (seelenbeschwörenden) Chronotopik seiner Vorkriegsmärchen erweisen sich die Märchenwerke der Kriegs- und Nachkriegszeit als konzentrierter Ausdruck des enttäuschten Verlusts des Glaubens an das ontologische Potential der Märchengattung und an die inhärente Güte und Transzendenzfähigkeit der menschlichen Innerlichkeit. Ihre Chronotopik stellt eine gezielte Negation der romantischen Märchenchronotopik dar.
This article contributes to the discourse on experimental interwar fairy tales as a subgenre that undermines the anachronistic fairy-tale conventions to a selective negation or recontextualization in ...accordance with a contemporaneous cultural crisis. The contribution consists of demonstrating how fairy tales provide popular interwar religious authors with a platform to parallel the critical mirroring of their secular contemporaneous society with an articulation of a Christian, humanist optimism. A spatially focused comparison of Ödön von Horváth’s cycle of fairy tales Sportmärchen (1924–1926, published posthumously in 1972), and Joachim Ringelnatz’s Nervosipopel: Elf Angelegenheiten (1924) distinguishes the vertical and horizontal textual spaces to demonstrate that both authors reflect their metaphysically uprooted society through a negation of the genre's characteristic orientation toward harmonic equilibriums on a horizontal spatial axis. However, by overlaying destructive horizontals with antinomic, transcendence-signifying Christian verticals, the tales also articulate a modality of nearness to God, even in the secular world. This symbolic and positive vertical motion correlates with preserving the genre's characteristic idealization of a child.
The chronotope (time-space) represents Bakhtin’s most ambiguous and therewith most problematic concept. In scholarly discourse, the chronotope is primarily interpreted either as an epistemological ...concept expressing the experience of perception, or alternatively as being primarily an anthropological concept expressing the possibilities of the action of a subject in time-space. The study represents a contribution to the existing discussion in its being a response to the contradiction between these interpretive tendencies. By means of the contextualization of the chronotope with Bakhtin’s early concept of participative thinking, the article not only clarifies the interaction of the epistemological and anthropological dimensions of the concept, but also presents a new view of the chronotope as a sign of event in Being and of chronotopic analysis as the realization of Bakhtin’s effort to relate to Being-as-event in participative manner.
K poznámke pod čiarou Duleba, Maxim
Svět literatury,
2021, Letnik:
XXXI, Številka:
64
Journal Article
Recenzirano
Odprti dostop
This article contributes to the scholarly discourse on Mikhail Bakhtin’s ambiguous concept of “chronotope” (time-space). As Bakhtin “explains” his understanding of “time” and “space” in Forms of Time ...and Chronotope in the Novel in the footnote alluding to Kant’s “Transcendental Aesthetics”, claiming to understand “time” and “space” not as “transcendental” but as the forms of the “most immediate reality”, various commentators have focused on the Bakhtin-Kant connection to grasp the term’s conceptual meaning. Responding to the previous scholarly discourse, which has not taken into the consideration the materialist dimension of Bakhtin’s thought, the study reconstructs Bakhtin’s axiology present in his analysis of particular chronotopes and subsequently illustrates chronotope as a materialist anti-ideological tool.
In order to demonstrate an aspect in which the novel is relatable to the canon of absurdism and enrich the view of dimensions in which it functions, the purpose of the following article is a reading ...of Flann O’Brien’s
in relation to the Absurd as an ontological category of existentialism and absurdism. Firstly, some assumptions already made on account of the novel are introduced. Secondly, the relevant and chosen characteristics of the Absurd are summarized in relation to Kierkegaard’s and Camus’s conceptions of the Absurd. Then, the novel is interpreted in relation to the insufficiency of human knowledge and rational thought in terms of achieving comprehension transcending existence. Lastly, the novel is interpreted in relation to the narrator’s fear of death, with death as an element transcending existence and adding to its irrationality. Overall, the way in which the novel depicts a specific contraction resulting in the Absurd is illustrated.
The following article shows why Henry Miller’s novel Tropic of Cancer should not be labelled as a pornographic nor dehumanizing novel through the prism of a scientific and nonsentimental approach. ...The author of the article argues that even though Henry Miller creates in his novel a certain project of dehumanization, the article explains how usage of poetic language prevents Tropic of Cancer being a sexist insult to woman as often claimed by the feministic discourse of the 1980s and 1990s. Reacting to the popular and standardized interpretational traditions, the article contributes to the discourse about the dehumanizing aspects of Henry Miller’s novel by analysing the code of obscenity present in the materia of literary text. The code of obscenity is put into context with other features of materia of Miller’s text in order to explain how its specific “energy” functions. The author of the article applies the thinking of influential Russian literary scholars such as Mikhail Bakhtin and Yuri Lotman on the autonomous world of a literary text.
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