Chronotope

Does morality depend on the time of the day? The study The Morning Morality Effect: The Influence of Time of Day on Unethical Behavior (1) published in October of 2013 by Maryam Kouchaki and Isaac Smith suggested that people are more honest in the mornings and that their ability to resist the temptation of lying and cheating wears off as the day progresses. In a series of experiments, Kouchaki and Smith found that moral awareness and self-control in their study subjects decreased in the late afternoon or early evening.  The researchers also assessed the degree of “moral disengagement,” i.e. the willingness to lie or cheat without feeling much personal remorse or responsibility, by asking the study subjects to respond to questions such as, “Considering the ways people grossly misrepresent themselves, it’s hardly a sin to inflate your own credentials a bit,” or “People shouldn’t be held accountable for doing questionable things when they were just doing what an authority figure told them to do” on a scale from 1 (strongly disagree) to 7 (strongly agree). Interestingly, the subjects who strongly disagreed with such statements were the most susceptible to the morning morality effect. They were quite honest in the mornings but significantly more likely to cheat in the afternoons. On the other hand, moral disengagers, i.e. subjects who did not think that inflating credentials or following questionable orders was a big deal, were just as likely to cheat in the morning as they were in the afternoons.

This paper summarizes a doctoral research currently in its early stage. The study explores the extent to which Web 2.0 technologies are affecting the ways PhD students learn to become researchers. The planned study will
firstly survey resources and tools available to and digitally-mediated practices undertaken by the doctoral researchers enrolled in three Italian and one UK universities. Secondly, it will identify, interview and observe
new doctoral ‘e-researchers’, defined as self-directed learners striving to build up disciplinary knowledge, academic literacies and their ‘being scholars’ both in traditional university contexts and in networked digital
environments. The doctoral work is designed with a mainly qualitative approach and aims to highlight descriptive features of individual PhD e-researchers’ learning ecologies. A specific focus will address
contrasting modes of using and interpreting spatial and temporal dimensions of the doctoral experience in formal research training contexts and in self-organised networked practices. It is argued that findings can reveal the extent to which such pioneer doctoral researchers are co-evolving together with the emerging modes of networked scholarship, that are changing research practices. The expected results are also likely to suggest implications for transforming current practices of doctoral pedagogy in university settings.

In this essay, I employ Elana Gomel’s concept of “impossible topologies” to analyze and compare three literary visions of how digital realities might in the future augment, as well as impede, the physical world we live in: From Liu Cixin’s 刘慈欣 use of virtual reality as world simulation in The Three Body Problem (san ti 三体, 2008), toTang Fei’s 糖匪 portrayal of an “ocean of data” as the source of all stories in “Call Girl” (huangse gushi 黄色故事, 2013), to Ma Boyong’s 马伯庸 Orwellian narrative “The City of Silence” (jijing zhi cheng 寂静之城, 2005),1 where all interpersonal communication is carried out soundlessly via strictly censored online forums. I use spatiotemporal concepts to analyze digital realities as alternative, parallel spacetimes that afford imaginary arenas for experimentation, escape, and control.

?Italo Calvino wanted to realize a kinesthetic book with five narrations. Under the Jaguar Sun is the outcome of this experiment. Calvino didn't finished it because of his death, but it was published with three stories instead of five. This paper tries to explore the bakhtinian chronotope whithin the Calvino's Book.

This academic work evidences the proposal of Míjail Bakhtin regarding the concept of carnival as space for encounters and rupture through the interactions of dynamic characters, parody and choral stories.

This essay connects Bakhtin's work with the novel "El rincón de los justos", by Jorge Velasco Mackenzie, in which pages the space is used to delimitate time and actions. This novel shows a dystopian cosmovision based on the city of Guayaquil, Ecuador, which is seen as a place surrounded by marginality and chaos.

The ancient Tale of the Bygone Years or Primary Chronicle (Povest’ vremennykh let – PVL) is one of the main sources on the ancient history of the Slavic tribes  and the origin of Kievan Rus’. A variety of structural and thematic motifs, frequently going back to even earlier sources, can be isolated in the narrative. Among them, noteworthy is that of migration in a broad sense: e.g., the migration of Slavic tribes from the Danube river towards the East; the expansion and strenghtening of political power and authority (with consequent broadening of state borders); the spread of christian faith and writing; etc. The article examines in particular the well-known excerpt on the introduction of Slavic writing in Great Moravia at the time of the Cyrillo-Methodian mission (862-865) and its subsequent transplantation in the Eastern Slavic lands. The investigation attempts to clarify why this episode is mentioned in the PVL under the year 898, i.e. more than 30 years after the new glagolitic alphabet was actually introduced among the Western
Slavs (together with some translations of the Holy Scriptures into Old Church Slavonic). As a solution to the problem, for which a satisfactory interpretation is still lacking (despite some recent hypotheses due to the Russian historian V. Petrukhin), it is proposed to explain the anachronism in the light of the literary chronotope, according to the theory of Mikhail Bakhtin. Like other episodes registered in the PVL, even the entry about the invention and further propagation of the letters among the Slavs may be considered to be subordinated to the inner organization of the narrative structure and thus can be interpreted as a basic element in the tale about the expansion of authority and the struggle for the unification of Kievan Rus’ under prince Oleg (882-912). In other words, in his account the annalist is guided by the subject itself as well as by the rules of the literary (annalistic) genre, which in a sense compel him to place the episode of Slavonic letters and books at the very end of a long historical process, described in the perspective of what has been called the “chronotope of the Russian land”.

Proponemos un modelo de análisis del español americano enfocado en su contacto con los idiomas y culturas indígenas con los que ha coexistido en el llamado “Nuevo Mundo”. Para ello utilizamos conceptos sociolingüísticos y semióticos, en especial, el principio dialógico de Mikhail Bakhtin y sus nociones centrales de "utterance", "cronotopo" y "alteridad".

We propose a model to analyze the Spanish language in the Americas that focuses on its contact with the indigenous languages and cultures with which it has co-existed in the New World. Our analysis makes use of sociolinguistic and semiotic concepts, in particular, Mikhail Bakhtin’s dialogical principle and its central notions of utterance, chronotope and alterity.

Mythic and religious narratives that envision the end of the world position the apocalypse in a futuristic time where certain events would sequentially occur finally building up to the inevitable end. Speculative fiction that depicts near-apocalypses do not however, prefer unconceivable futures but favour the current time of the narrative, depicting them as events happening now. Operating within the apocalyptic chronotope, science fiction bonds present day concerns with possible catastrophes. One such narrative is Harry Bates' short story "Farewell to the Master" (1940) which also generated two film adaptations entitled The Day the Earth Stood Still (1951, 2008). While Bates' short story relates how humanity is prone to act imprudently during a relatively peaceful period, the 1951 film turns to that of the Cold War and its repercussions, and the 2008 remake of The Day the Earth Stood Still centres around the theme of nature. As environmental concerns dominate our era the 2008 film reflects humanity's ever-growing consumption and destruction of its natural surroundings. As the source text and its adaptations provide possible apocalyptic visions or scenarios adjusted to their respective audiences, this essay analyses these narratives through the apocalyptic chronotope, exploring and building on Bakhtin's theory. In doing so, this essay attempts to discern the ways in which adapted near apocalyptic scenarios shift and change to accommodate contemporary concerns within a temporal and spatial framework.

In this paper I lay out some of the main theoretical methodological principles that underlie a narratives-as-practices approach and discuss three foci that emerge from current research and pave the way for future investigations. In particular, I focus on mobility, connectivity, time/space anchoring and chronotopicity as both characteristics of narrative and research areas which allow for an integration of the focus of interactional approaches on emergence with a consideration of the historical and social embedding of narratives into practices. I review recent research that has contributed to this trend in narrative studies and discuss some of the limitations of current work and areas that need further investigation. I advocate for an expansion of research on a wider variety of practices, attention to the characteristics of narrative genres, and in general a stronger critical engagement with ways in which narratives participate in social processes involving power and inequality.

Louisiana Creoles are often described via euphemistic reference to things like "gumbo" and the "melting pot." While such metaphors may capture the inherently heterogeneous nature of Creoleness in the Gulf South, they can also seem to suggest that "anything goes" when it comes to Creoles and their cultural practices. In this talk, I suggest using the notion of the chronotope (Bakhtin 1981; Blommaert and De Fina 2017) to better explain the contested nature of Creole identity today while avoiding essentializing Creoles as somehow uniquely constituted on the basis of their mixedness. I focus on a particular index of Creole ethnolinguistic identity--associated language variety (Eastman and Reese 1981)--and trace how this trait has evolved over time and space. This evolution, rather than delegitimizing Creoleness, highlights the various time-space frames (i.e., chronotopes) through which Creole identity can be viewed. The enduring practice of delimiting Creoleness, irrespective of the mechanisms used, provides Louisiana Creoles with discursive and ideological continuity despite the co-existence of contradictory criteria for group membership.

This paper proposes that hearing and listening are embodied, ideological, and historical processes, which complement the soundscape and profoundly affect the historical and cultural embodiments of performers or sound producers as well as those of auditors.Attention to acoustic phenomena, and their representations, can greatly enrich our understanding of cultural history, making it an embodied, sensual history. For, although boundaries and divides may be marked by silences, these silences may be broken; perhaps most listening occurs across social, temporal, ethnic or cultural divides.

The paper examines Tracy Letts' play August: Osage County from the perspective of the Indian heritage and how it cohabits with the Weston family, arguing that they both belong to the same chronotope of the Plains. We explain what " the Plains " is and how its " virus " affects the Weston family which is virtually falling apart after Beverly's suicide which sets the plot in motion. The colonial history of the Osage county is important for the present of all its inhabitants. The local Indians can be perceived as the Other, but the character of Johnna, the Cheyenne housemaid, shows that she can tacitly influence the lives of the Westons and is more close to them as originally believed. The fact is that they share the same chronotope and it is precisely this time-space trait of their lives that brings them together, symbolized in the final scene when Johnna and the family's matriarch, Violet sing together.

James Graham Ballard (1930-2009), who is well-known for his post-/apocalyptic fiction, represented chaotic conditions of human beings in the face of environmental disasters and their endeavour to survive in the nonhuman environment through and after the apocalypse. In his post-apocalyptic novel The Drought (1965) Ballard depicts a world turning into a global desert due to the toxic waste release into seas and oceans all around the world. This article aims to examine The Drought within the framework of post-apocalyptic chronotope with respect to Mikhail Bakhtin’s theory of the chronotope. In doing so, this article proposes that there is an intrinsic relationship between the human psyche and nonhuman agency within the temporal and spatial frame.

The focus of this article is on what I conceive as a form of comic-chronotope particular to Gilbert Hernandez. His works present a specific interconnection between time and space that radicalises the common chronotopic device of the comic form. I argue that, by carefully organising these essential elements (time and space) in a concrete whole within his narratives, Hernandez is also re-imaging his context, history and sense of identity with the use of the comic form. To make it visible, I will first analyse Hernandez’s Luba Comics (2000–2004), Chance in Hell (2007), to illustrate what I understand by comic-chronotope on a literal level, and also to highlight the use that Hernandez makes of it that is specific to the medium and that at the same time defines his voice. Finally, I will use Julio’s Day (2013) to discuss the unfolding of its spatial and temporal indicators into an explicit form of historicity.

En ligne : http://blogs.univ-tlse2.fr/littera-incognita-2/2017/09/24/le-personnage-liminaire-une-notion-ethnocritique/

Résumé : Cet article expose l’apport ethnocritique à l’étude des chronotopes rituels où se noue et se dénoue l’existence (seuils, opercules, passages); retrace le parcours théorique menant à la découverte heuristique de la notion de « personnage liminaire » (M. Scarpa); propose une lecture ethnocritique de Nicolas, personnage liminaire de La Classe de neige de Carrère (1995); et enfin étaye et délimite cette notion ethnocritique en présentant quelques considérations définitoires.

Après les travaux pionniers de la fin des années 90, un nouveau champ de recherches, celui des “Night studies” émerge et se structure peu à peu associant notamment des historiens, des géographes, des urbanistes, des sociologues, des économistes, des anthropologues, des ethnologues, des philosophes, des biologistes, des spécialistes de la culture et de la communication, des politologues, des architectes, des artistes et des praticiens. Partout dans le monde, les colloques, séminaires, travaux de recherche, thèses et expositions sur la nuit se multiplient explorant souvent de manière interdisciplinaire les limites de la nuit urbaine, la colonisation, l’insécurité, la gouvernance, les politiques publiques, les aménagements, la qualité de vie, la cohabitation, les plans lumière, le paysage, les mobilités, les représentations, la cartographie, l’innovation, le marketing.

In his novel Neverwhere Gaiman depicts the modern city of London - London Above, and his inverted fantastic counterpart - London Below. London Below is the reflection of London Above in a heterotopic mirror: a fantastic version of the city, represented by its mythical identity. While London Above is “filled with colour”, and is “a city in which the very old and the awkwardly new jostled each other, not uncomfortably, but without respect”, London Below is “built of lost fragments of London Above: alleys and roads and corridors and sewers that had fallen through the cracks over the millennia, and entered the world of the lost and the forgotten”, and it is “inhabited by the people who fell through the cracks in the world”. This article aims to analyse the representation of London in terms of Lynch’s environmental image, Bakhtin’s study on chronotope and Foucault’s essay on heterotopias and heterochronies, and to examine Gaiman’s version of London in terms of myths and legends that forge the identity of the city.

Cette étude ethnocritique examine une poétique culturelle des temporalités et s’intéresse aux conflits des hétérochronies à l’œuvre dans le roman "Germinal" en faisant l’hypothèse que les jeux de tensions temporelles disent les accommodements et résistances au nouveau rapport économique et productif qui se met en place dans la modernité industrielle du XIXe siècle.

Together with ‘dialogism’ and ‘carnival’, the chronotope is one of Bakhtin’s most recognisable contributions to literary theory.  In this paper, the chronotope is described as a spatio-temporal map which Bakhtin designates in Forms of time and the chronotope in the novel as “the intrinsic connectedness of temporal and spatial relationships that are artistically expressed in literature” (Bakhtin 1981 84).  However, as Bakhtin continues his description of this construct, its kernel never achieves complete articulation, due to his technique of writing ‘under erasure’.  Hence, his initially acknowledged debt to Kant and Einstein as formative influences on the chronotope is continually under review.  This review is particularly evident in the change in approach between the first nine sections and Section X, signposted by a performative shift early in the latter section.

In Section X, the scope of the chronotope is abruptly enlarged from the domain of literary narrative to embrace that of lived experience, thus enabling the application of the concept to historical narrative.  Two examples of this application are explored (Richland 2008, Lawson 2011), which act as an introduction to Bakhtin’s analysis of Goethe’s visualisation of time in The Bildungsroman and Its Significance in the History of Realism (Bakhtin 1986)

The paper then turns to an analysis of Bakhtin’s view of the Chronotope of the Castle in its three aspects: artistically constructed objects, the portrait gallery and legends and traditions (Bakhtin 1981 245-246), linking it with Goethe’s creative plan for a description of Pyrmont (Bakhtin 1986 49).  It uses this analysis to explicate the way in which the chronotope is applied to both lived events and historical fiction.

The paper concludes with a summary and recommendation for further interpretative work, covering the chronotope as a tool, the Chronotope of the Castle as a timescape and the recommendation that fiction and history be regarded as a continuum rather than a divide.

Cook, J. 2014. 'Events Set in Amber: Bakhtin's 'Chronotope of the Castle' as Solidified Space-Time', Australian Slavonic and East European Studies, 28: 51-70.

The essay develops an analysis of the City of glass (1987) by Paul Auster in comparison with its comic
transposition created by Paul Karasik and David Mazzucchelli (1994). The study aims at recognizing,
through the thick weave of linguistic and metanarrative refractions of the novel, the rules of a “literary
game” that is not self-referential. It instead corresponds to a structurally element of postmodern reality,
but also to an exegetical tool capable of giving back a readable image to the complex urban
architecture. By following, through the theory of the “walking rhetoric” proposed by de Certeau, the
wanderings of the main character Quinn on the streets of Manhattan, and observing the visual rehash
in the graphic novel, the essay recognizes a “spatial story” (de Certeau), a tactic action of “writing” the
postmodern city, interpreted as an infinite set of possible narratives, and readings.
The opportunity to compare the novel with its transcodification within the structurally chronotopical
language of comics, in which the time of the written world becomes complementary to the spatiality of
the images, suggests a “geocritical” approach to this work: the narrative styles of the spatial
representations, and also their graphic exploration, are interpreted to return, in a moving map, a visible
image of New York city.

""The theories of the Russian literary critic and philosopher Mikhail Bakhtin (1895-1975) are highly suggestive for helping to understand cinema, yet their usefulness has yet to be fully and accessibly articulated in relation to the key debates of Film Studies. At the heart of this text is the key notion of chronotope, which Flanagan adapts to show how time and space 'fuse together' in cinematic narrative. Similarly crucial are the Bakhtinian concepts of dialogism and polyphony, which help to address fundamental questions about film form and reception. The 'unfinalizable' Bakhtinian word seems to hold great significance for a changing media world where meanings seem constantly renewable, and diffuse practices of spectatorship outgrow earlier, rigid models of interpretation. Via case studies of a diverse range of films (from Die Hard 4.0 to House of Games, The Searchers to The Incredibles), this book vividly demonstrates that Bakhtin's theories can bring about an exciting intervention into some of the most contested areas of film theory.

'A well-needed instalment in the sparse critical work on Bakhtin and cinema...this study unlocks new ways of understanding the circulation and production of film meaning.'
- Hunter Vaughan, New Review of Film and Television Studies""

Лавринович Л. Містерія часу і простору у прозі Бруно Шульца / Л. Лавринович // Бруно Шульц як філософ і теоретик літератури : Матеріали V Міжнародного Фестивалю Бруно Шульца в Дрогобичі / редакція Віри Меньок. – Полоністичний науково-інформаційний центр ім. Ігоря Менька ДДПУ ім. Івана Франка. – Дрогобич : Коло, 2014. – С. 412–432.

У статті йдеться про систему бачення дійсності Бруно Шульца крізь призму модусів часу та простору, а також про її проекцію на поетику творів. Зазначено, що як просторові, так і часові параметри прози автора характеризуються несталістю, нелінійністю, здатністю до безперервного множення і модифікацій. Розглядаються способи таких модифікацій у книгах «Цинамонові
крамниці» та «Санаторій під клепсидрою». Зокрема, йдеться про синестезію як один із найчастіше вживаних автором художніх прийомів у зображенні часу, що проявляється у феномені його опросторення (у формі перетікання просторових атрибутів у часові, вживання понять на позначення просторових феноменів, наділення часу фізичними атрибутами простору тощо).
Система Шульцового часу базується на протиставленні профанного (який найчастіше маркується як лінійний) та сакрального (вихід у «подію», за філософською термінологією М. Гайдеґґера). Традиційні модуси тривання (минуле, теперішнє, майбутнє) оцінюються автором з позиції сакральної значимості. Ілюстрацією часу в Шульца є два переплетені образи
весни / дерева, які символізують життя і творчість. У статті розглядаються сезонні концепти Шульца, які формують його міфосвіт (весна, осінь, зима). Письменник творить самобутні космогонічний (в образі весни-дерева) та есхатологічний (в образі осені-вмирання) міфи. Істинний сакральний час у Шульца – це проточас, першопоштовх, вічний початок, здатний бути завжди, а
не лише в минулому; це первозданне джерело безконечної потенції, точка розливання, творення світу, коли порожнє стає наповненим і починає тривати.
Самобутній міф часу та простору Б. Шульца має синтетичне походження: ці модуси буття у Шульца антропоморфно міфізовані (тут вбачаємо елементи архаїчних релігійних систем та пантеїстичного світогляду) і водночас релятивні, відносні (наслідок зацікавлення Б. Шульца новітніми відкриттями у сфері суб’єктивного часу та теорії відносності).
The article deals with the reality vision system of Bruno Schulz in the light of time and space modi as well as its projection on the poetics of works. It is noted that both the spatial and temporal parameters of the author’s prose are characterized by the instability, nonlinearity, ability to continuous multiplication and modifications. The methods of such modifications are examined in the books “The Cinnamon Shops” and “Sanatorium under the Sign of the Hourglass”. Particularly, the synesthesia as one of the fiction methods most frequently used by the author in the depiction of time, which is revealed in the phenomenon of its espacement (in the form of spatial attributes flowing into temporal ones, the use of terms denoting spatial phenomena, endowing time with the physical attributes of space, etc.), is mentioned.
The system of Schulz’s time is based on the contradistinction of profane time (which is more often marked as the linear one) and sacral time (the exit in “event”, according to the philosophical terminology of M.Heidegger). The traditional modi of duration (past, present and future) are estimated by the author from the position of sacral significance. Two intertangled images of spring/tree symbolyzing the life and creativity are the illustration of time in the works of Schulz. The article deals with the
seasonal concepts of Schulz that are forming his world of myths (spring, autumn, winter). The writer creates original cosmogonic (in the images of spring-tree) and eschatological (in the image of autumndying) myths. The true sacred time in the works of Schulz is the primordial time, the first impulse, the true beginning, which is able to exist all the time and not only in the past; it is the primordial source of
infinite potential, the point of circumfusion, world creation, when the empty becomes full and starts lasting.
The authentic myth of Bruno Schulz’s time and space has got the synthetic origin: these modi of existence in the works of Schulz are anthropomorphously mythologized (here we can see the elements of archaic religious systems and pantheistic worldview) and relative at the same time (the consequence of
B.Schulz’s interest in the latest discoveries in the sphere of subjective time and the theory of relativity).

Щавелев А. С. Хронотоп державы Рюриковичей (911–987 годы). Москва: Аквилон, 2020. 560 c.
Aleksei S. Shchavelev. Chronotope of the Rurikid Polity (911–987). Moscow: Aquilon, 2020. 560 pp.
My book will reconstruct the chronology of the deeds of pagan princes and the formation of the territory of the Rurikid polity in the 10th, that is, it’s ‘chronotope’ in the 911–987 years. In other words, my research will be dedicated to chronological markers and the triangulation of spatial landmarks of the pagan Rurikid polity in the 10th century.

Healing, in conjunction with dream and vision requests at sacred sites, is a well-documented phenomenon in Turkey and the Middle East, and plays a major role in local Muslim traditions. This article presents an ethnographic account of dreaming and healing traditions, focusing on the worship of Hızır and Şeyh Yusuf el-Hekim commonly practised at pilgrimage sites in Hatay, Turkey. It demonstrates how Muslims and Christians visit these pilgrimage sites for the purpose of both vows and dream-quests. I argue that visits to local pilgrimage sites – including dreaming and healing as key elements of these visits – lead to a virtual encounter with the saint and a ritual transformation of agency for the worshipper. In reference to the work of Bakhtin, I utilize the concept of the chronotope to analyze oral traditions about Muslim saints and the interrelatedness between temporal and spatial dimensions of visits to these pilgrimage sites. I link this approach with Kapferer’s concept of virtuality so as to account for the personal testimonies of those who visited these sites and experienced virtual encounters with Muslim saints through dreaming and healing. In conclusion, I present details from one of my own experiences at a site and discuss how this changed my relationships with my interlocutors.

Le géographe n'est plus le savant du Petit Prince de Saint-Exupéry, qui écrivait « des choses éternelles » mais un scientifique obligé d'observer et d'analyser des mondes en mutation, des agencements plus labiles, fragiles et temporaires dans une période d'incertitudes sanitaires, sociales, économiques et environnementales. L'action aménagiste et l'urbanisme sont naturellement impactés et concernés par ce glissement qui nécessite le déploiement d'un « urbanisme chronotopique » et une « politique des rythmes » pour une « ville malléable et réversible ». La dimension temporelle a longtemps été négligée par les chercheurs, les édiles et les aménageurs, bien qu'elle constitue une clé d'entrée majeure pour la compréhension et la gestion des sociétés, un enjeu collectif essentiel pour les hommes, les organisations et les territoires en termes de dialogue sociétal, de développement durable et de qualité de la vie. Les villes ne sont pas des structures figées mais des entités qui évoluent selon des rythmes quotidiens, hebdomadaires, mensuels, saisonniers ou séculaires, mais aussi en fonction d'évènements, d'accidents et d'usages parfois difficiles à articuler. Notre société revoit ses rapports à l'espace et au temps, à l'urgence, à la vitesse, au travail, aux loisirs, à la mobilité, au bien-être et à la « nature » obligeant citoyens, chercheurs, politiques et praticiens à s'adapter. L'effacement progressif de l'unité de temps, de lieux et d'action des institutions entraine de nouvelles hybridations, l'apparition d'arrangements, assemblages et configurations temporaires : développement d'événements urbains (nuits blanches, fête des lumières…), occupation saisonnière des espaces publics (Paris plage, marché de Noël…). Face aux difficultés, on voit l'explosion des formes d'habitats précaires (campements, bidonvilles…), les mobilisations politiques (Occupy Walt Street, ZAD, Nuits debouts, ronds-points des gilets jaunes…) ou appropriations artistiques et créatives qui contribuent à l'émergence d'une pratique réversible de la ville. Au-delà de ces émergences, la question du temps s'invite peu à peu dans les agendas de la recherche, de l'urbanisme et des politiques publiques. Dans la recherche, les outils de représentations dynamiques ont notamment permis de faire émerger une approche « chronotopique » où le « chronotope » est défini comme « lieux de confluence de la dimension spatiale et de la dimension temporelle ». Après les avancées des années 70 (horaires variables, heure d'été, calendriers de vacances scolaires par zone…) Il a fallu attendre la fin des années 1990 en Italie et le début des années 2000 en France avec les expériences des bureaux du temps pour que se déploient des politiques temporelles. Au-delà de ces expérimentations territoriales, on assiste également à un certain renouveau des approches prospectives, à l'irruption de notions comme la réversibilité, l'improvisation, l'hybridation, le développement d'innovations sociétales et de modes d'intervention sous forme de plateformes, de tiers-lieux et aux premiers pas d'un « l'urbanisme tactique », « temporaire » ou « transitoire » stimulé par le déconfinement.

The Poetics of Posttraumatic Stress Disorder in Postmodern Literature revisits the great American post-WWII, postmodern literary texts, namely Thomas Pynchon’s Gravity’s Rainbow (1973), Kurt Vonnegut’s Slaughterhouse-5 (1969), and Joseph Heller’s Catch-22 (1961), to fuse high literary theory and criticism with the conception of PTSD symptomatology—and the historico-political developments that dictated the formation of PTSD symptoms and their corresponding literary tropes. For the first time since the portrayal of PTSD as a product of narrative discourses, The Poetics of Posttraumatic Stress Disorder in Postmodern Literature performs an inverse exploration. By identifying key postmodern literary tropes as products of an overarching PTSD narrative paradigm, this accessible and concise study: identifies unexplored aspects of the canonical novels at hand, such as the link between individual and collective traumatization; introduces a novel way of examining trauma at the intersection of narrative, history, and medicine that will be of interest to literary scholars, students, and medical practitioners within narrative medicine alike; and recalibrates the importance of postmodern politics of transformation, while making the case for an aesthetics of trauma.

Mikhail Bakhtin, with his notions of Dialogism, Polyphony, Chronotope, Carnival and so forth, was one of the most important theorists of discourse in the twentieth century. The theory of chronotope, which was introduced as part of Einstein's Theory of Relativity, made a significant contribution not only to the mathematics but also to the literary scholarship. In this article, based on his essay Forms of Time and Chronotope in The Novel (one of the four essays in his book, The Dialogic Imagination [first published as a whole in 1975]), most important types of chronotopes classified according to such kinds of literary genres are mentioned and compared at some points.
Keywords: Mikhail Bakhtin, Forms of Time and Chronotope, François Rabelais, Literary criticism

The basic premise of this work is to consider architecture as the result of the interrelationship between its constituent parts: aesthetic, tectonics, social, environmental , cultural, and organizational. When the project is focused only on one or a few of these levels, this is when hollow formalisms are generated. The main aim here is to demonstrate that patterns are able to facilitate the interaction and integration ofthese constituents. The rise of computation in architecture has had the effect of diluting the natural thought process of the architect. This paper therefore, helps to fill that theoretical void in parametric design. Hence, new tools are needed to analyse and understand architectural phenomena. For this to happen, the relationship between mathematical models and architecture needs to be cemented, and from here on after, pattern needs to be seen as an invaluable component of architecture. A methodology based on my belief that Complexity Theory could be the basis for interpreting architecture and pattern as structure, in order to transform the abstract into reality.

Gothic narratives tend to privilege one particular subject above all others: women’s entrapment in domestic architectural spaces. This thesis aims to investigate the relationship
between women and the home by means of chronotope theory, phenomenology and the concept of the uncanny in three classic New England Gothic works: Nathaniel Hawthorne’s
The House of the Seven Gables, Charlotte Perkins Gilman’s “The Yellow Wall-Paper”, and Shirley Jackson’s The Haunting of Hill House. By viewing the chronotope of the Gothic home as the organising device for heroine-centred Gothic literature, this thesis ultimately makes a case for the view that time and space can be used for subversive feminist purposes in Gothic fiction by calling attention to patriarchal power structures in the home.

Since soon after the publication of Daniel Defoe’s 1719 novel Robinson Crusoe, there have been many different cinematic and literary adaptations of this famous adventure story, which are collectively known as “Robinsonades.” Due to the plastic nature of the Robinson Crusoe story, which is a function of what Mikhail Bakhtin defines as the “adventure chronotope,” there are many intra-medial and inter-medial adaptations of Defoe’s novel in different historical, cultural, social and ideological contexts in which the “dominant” and/or “emergent” “structures of feeling” are represented. Thus, as an outcome of all these various adaptations, it is possible to observe a polyphonic voice in the entirety of the Robinsonades, in which many contradictory ideas and voices are highlighted. This thesis furthers the exploration of the adaptability of Defoe’s Robinson Crusoe by illustrating the central argument with reference to an intra-medial (Elizabeth Whittaker’s “Robina Crusoe and Her Lonely Island Home”) and one inter-medial adaptation (Robinson Crusoe, 1997) of the Robinson Crusoe story.  In the introduction part of the thesis, following a brief account of the adventure genre, Raymond Williams’s “structures of feeling” model is introduced with reference to the Robinson Crusoe story and the Robinsonade tradition. Then, Bakhtin’s ideas on “chronotope,” “adventure time,” and “polyphony” and the main methodological approach that is used in analysing these adaptations are explained. In the first chapter, Elizabeth Whittaker’s serialised fiction “Robina Crusoe and Her Lonely Island Home” is dealt with to argue that Whittaker’s “Robina” not only exemplifies the conventional woman character of the period, but also articulates and highlights the changing relationships between the Empire and the woman, and, in turn, gives voice to the New Woman in this same period, showing the text’s ability to address certain themes and tensions which were relevant for its particular reading audience and which represented the “dominant” and/or “emergent” “structures of feeling” in late Victorian Britain. The same method is also used in the second chapter while illustrating the discursive and ideological plasticity of the Robinson Crusoe story by discussing selected scenes from an inter-medial adaptation, namely the film Robinson Crusoe that accommodates both the “dominant” and “emergent” discourses on post-colonial multiculturalism. Moreover, it is argued that even though the polyphonic quality is attributed to the entirety of the Robinsonade tradition, in the film Robinson Crusoe, there is polyphony within the work itself as well, which is explained with reference to the voices heard in the various textual examples dealt with in this chapter. In the conclusion part, it is contended that the Robinson Crusoe story’s plasticity and heterogeneity can best be explained with reference to a specific type of “literary chronotope,” one which Bakhtin calls the “adventure chronotope,” and to “polyphony” in which different ideological positions are represented and given voice.

Although Western academic circles have become familiar with intellectual work of Mikhail Bakhtin only a decade after his passing, its influence is impossible to underestimate. However, not only have his theories and concepts reached the Western academic thought indirectly via proxies of the likes of Julia Kristeva and Tzvetan Todorov, but they have also not been rigorously scrutinized for consistency and objectivity. Following postmodern nihilistic rebellion against the language itself by Jacques Derrida and the like, perceived as an instrument of hegemonic structures, it falls to current academicians to reevaluate modern thought, extract concise terms, concepts and categories to reconstitute contemporary unambiguous tools for research. It is in pursuit of such consistency that current research provides critical analysis of Bakhtin’s concept of chronotope exposing several logical inconsistencies and contradictions in its definition, constituents, origins and application, while recognizing its strength as going far beyond the scope of literary analysis and retaining applicability to written, theatric and cinematic traditions. Besides addressing the concept of chronotope as such, the necessity of specific distinct types of idyll is also questioned, suggesting that such could have been broken down to their more basic and more universal elements not bound to the folkloristic culture, but to the very human nature and events experienced universally regardless of literary or oral tradition.

La novela Formas de volver a casa (2011) de Alejandro Zambra marca un hito en la narra-tiva chilena reciente, al tematizar la literatura de los hijos, es decir, de aquellos que fueron niños durante la Dictadura militar chilena (1973-1989) y son escritores en el presente posdictatorial. Se propone analizar la construcción discursiva de una perspectiva infantil estetizada en el motivo del juego en su significado (auto)representacional, de máscaras y de luchas (Huizinga) y que resulta operativo en tres niveles de análisis: el niño detective , los padres y la lucha por la representación de la Historia, y el narrador adulto que jugando a ser niño deviene escritor.

The novel Formas de volver a casa (2011) by Alejandro Zambra marks a milestone in recent Chilean narrative, by raising the question on the children's literature, namely the literature of those who were children during the Chilean Military Dictatorship (1973-1989) and became authors in the Post-dictatorship present. The article proposes to analyze the dis-cursive construction of an aesthetical child perspective in the topic of Play by its (auto) representative meaning, of masks and struggles (Huizinga) which becomes operative in three levels of analysis: the child detective, the parents and the struggle of representation in History, and the adult narrator playing as a chilld, who, therefore, becomes a writer.

Depuis l’origine, l’homme n’a eu de cesse de domestiquer la nature et d’étendre son emprise sur l’ensemble de la planète. Dans cette conquête du système monde presque achevée, la nuit urbaine, terra incognita longtemps oubliée par les édiles et les chercheurs, n’a pas encore livré tous ses  secrets.

Il y a pourtant une vie après le jour. Travail en horaires atypiques, soldes de nuit, nocturnes commerciales, illuminations, nuits blanches, transport, pollution lumineuse, nuisances sonores ou violences urbaines:  entre  insécurité et liberté, la nuit s’invite dans notre actualité. Colonisée par les activités du jour, la nuit est désormais soumise à de nouvelles pressions. La ville qui dort, la ville qui travaille et la ville qui s’amuse ne font pas toujours bon ménage. Face  à ces conflits, la nuit doit s’ouvrir à l’investigation scientifique, à la prospective et à la créativité. Ce livre nous invite à une première exploration de l’archipel nocturne, de ses acteurs, de ses limites, de ses centralités, de ses marges et de  ses rythmes. Espace de projet et dernière frontière pour l’homme du XXIe siècle: la nuit a beaucoup de choses à dire au jour.