Even more paradoxically, the image of the author in literature is experienced in works of a dramatic nature. In principle, the artistic world of the play does not imply his direct presence. In the list of acting (as if independently) persons, the author usually does not appear. 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 tribal boundaries, the elimination of rampage, a diversion against the specifics of dramaturgy. Experiments of this kind were not successful and only confirmed the rule: the image of the author in a play is a negative, significantly absent value: it manifests itself until the work is completed and made public in the form of a text or performance. His indirect, "preliminary" presence appears only in remarks, prefaces, recommendations to the director, decorator and actors (Gogol in The Inspector General).

Finally, a unique alloy of the collective lyrical hero with the image of the depersonalized author is presented antique choir- an organic component of ancient Greek tragedy and comedy. Most often, of course, he was not a primitive mouthpiece of 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» N. Arbuzova). By the way, the silent mass of the people in Shakespeare's Richard III and Pushkin's Boris Godunov is a paradoxically silent choir expressing the "voice of the people" as the "voice of God". This formidable silence, rooted in the technique of "tragic silence"

The concept of "chronotope". Chronotope types

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 means in literal translation - "time-space")

Types of chronotopes:

Adventurous household chronotope.

It is characterized by adventurous time, which is composed of a series 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, get ahead, to be or not to be just in time. this moment in a certain place, to meet or not to meet, etc. Within the limits of an individual adventure, days, nights, hours, even minutes and seconds count, as in any struggle and in any active external undertaking. These time segments are introduced and intersected by specific "suddenly" and "just". Chance (All moments of endless adventurous time are controlled by one force - chance. After all, all this time, as we see, is made up of random simultaneities and random different times. Adventurous “chance time” is a specific time for the intervention of irrational forces in human life, the intervention of fate, the gods, demons, wizards.

Biographical and autobiographical chronotope.

These ancient forms are based on new type biographical time and a new, specifically constructed image of a person passing his life path.

Types of autobiographies: Let's call the first type conditionally - Platonic type. There is a moment of crisis and rebirth in the Platonic scheme.

Second Greek type- rhetorical autobiography and biography.

This type is based on "encomion" - a civil gravestone and memorial speech, which replaced the ancient "lament" ("trenos").

Rabelaisian chronotope.

Human body portrayed by Rabelais in several aspects. First of all, in the anatomical and physiological scientific aspect. Then in the jester's cynical aspect. Then in the aspect of fantastic grotesque analogization (man is a microcosm). And, finally, in the actual folklore aspect. 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 by 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 the epic adventure. The moment of glory, glorification was also completely alien to the Greek novel and also brings the chivalric romance closer to the epic. These features also determine the peculiar chronotope of this novel - wonderful world in adventurous times.

Idyllic timeline.

IN special treatment time to space in an idyll: organic attachment, attachment of life and its events to a place - to home country with all its corners, to native mountains, native valley, native fields, river and forest, to home. Idyllic life and its events are inseparable from this particular spatial corner, where fathers and grandfathers lived, children and grandchildren will live. This spatial little world is limited and self-sufficient, not essentially connected with other places, with the rest of the world. Another feature of the idyll is its strict limitation to only the few basic realities of life. Love, birth, death, marriage, work, food and drink, ages - these are the basic realities of the idyllic life.

Chronotope functions:

Defines artistic unity literary work in its relation to reality;

Organizes the space of the work, leads readers into it;

Can correlate different space and time;

· Can build a chain of associations in the mind of the reader and, on this basis, connect works with the idea of ​​the world and expand these ideas.

In addition, both time and space single out the concrete and the abstract. If time is abstract, then space is also abstract, and vice versa.

Types of private chronotopes according to Bakhtin:

· the chronotope of the road - is based on the motif of a chance meeting. The appearance of this motif in the text can cause a plot. Open space.

chronotope of a private salon - non-random meeting. Closed space.

chronotope of the castle (it is not found in Russian literature). The dominance of the historical, generic past. Limited space.

· Chronotope of a provincial town - eventless time, closed space, self-sufficient, living its own life. Time is cyclic, but not sacred.

And space. Then Albert Einstein drew attention to the continuity and infinity of the space-time continuum.

In Russia, the concept of chronotope was applied by the famous physiologist Ukhtomsky. He combined the words Greek origin: chronos - "time" and "topos" - place. And after him, the philologist and literary critic M. M. Bakhtin used the concept.

What is a chronotope in literature?

The concept of "chronotope" was introduced into literary criticism by Mikhail Bakhtin. However, in literature this word has a different meaning. In his article, where the philologist considered the meaning of time and space in literary works, starting from ancient epics, the scientist mentioned that he uses the concept of chronotope metaphorically. He emphasized precisely the inseparability of these concepts. The plot of the work depends significantly on the time chosen by the author.

Chronotope is the unity of place and time in a literary work. The writer must correctly introduce the characters and the series of events at the chosen time. Artistically describing the time and place of each scene is an important task, and if an aspiring writer fails to do it, the text will be raw and hard to read.

According to Mikhail Bakhtin, time is the leading characteristic of the chronotope. The space only concretizes, complements. Space and objects in space make time tangible. Each point of time becomes visible thanks to the material space and the course of events in it.

Bakhtin's article on chronotopes

In his article "Forms of Time and Chronotope in the Novel", the scientist analyzes the description of time and actions within space in several works. Mention is made of the "Golden Ass" of Apuleius, which has come down from antiquity in full, famous novel Dante Alighieri, Roman "Gargantua and Pantagruel" F. Rabelais, and others. There are 10 chapters in Bakhtin's work. In the last, 10th chapter, the literary critic describes the forms of the chronotope and the content that is often contained in them.

Mikhail Bakhtin combined philological and philosophical research in his works. Thanks to the analysis of chronotopes, it is much easier for contemporary writers to build a plot.

Forms of time and chronotope in the novel

If the world of the work is completely mystical, it must be well described. The reader cannot fully immerse himself in a story or novel if the description of this world lacks important details or the narrative contains unforgivable logical errors.

So, what worlds did Bakhtin describe? The era of the story has a significant impact on the character and on the course of events. Let us describe the forms of the chronotope distinguished by Bakhtin.

• Roads. May meet on the road strangers, a conversation can start and a story can begin.
• castle. In the novel, there will be a drama associated with the ancestral past. Most likely, the narrative space is limited. In castles, the feudal past is always described, great personalities are mentioned - kings, dukes. There are galleries with portraits, valuables, expensive antiques. The plot may revolve around the violated right of inheritance or knightly confrontation, or the defense of the dignity of a knight and his lady.
• living room. This chronotope is clearly shown in Balzac's novels. Living rooms are the place where specific salon intrigues originate, this is an analysis of the characters' characters and a search for context in actions.
• Provincial quiet town. The description of the city and its inhabitants suggests a closed space, where the passage of time is almost not described, since in the province everything goes on as usual and nothing changes.
• threshold. This is a metaphorical space-time, where the novel is based on a crisis situation. On the "threshold" a story is built, where there is no biography of the hero. Here the problem of a change in the consciousness of society sharply arises.

These chronotopes prevailed in the novels of bygone eras. Research Article published at the beginning of the 20th century, the fantastic chronotopes that are popular today have not yet been covered.

Idyllic or folklore chronotope

Separately, it is necessary to mention the folklore chronotope, to which Bakhtin singled out an entire chapter. The idyll can be divided into 2 parts:

• Family-idyllic chronotope. This is an idyll, which is always tied to the natural edge where the hero and his great-grandfathers grew up. Human life is always inextricably linked with nature. Another feature of such novels is the complete absence of everyday descriptions. Attention is paid exclusively to romantic moments of life ( new life, development, love, search for meaning).
• Labor idyll. Work is sung for the benefit of society.

Most often, these two forms occur together in the novel. The heroes of idyllic novels cannot go beyond this world artificially created by the writer. The outside world seems to depreciate.

Chronotope Functions

The most basic function of the chronotope is to organize the space in which the characters live, to make it understandable and interesting.

Space-time determines the unity of the entire narrative. Time can be described differently in one literary work, but the reader must be organically introduced into each dimension.

Chronotop expands the reader's understanding of the world. The description of space should therefore not be narrow. If time and space are chosen conditionally, say, we are talking about the future, then you need to tell as many little things as possible about this new space.

Modern chronotope. Approximate content

The heroes of today's literature live in other, modern chronotopes. These works differ significantly from the era of, say, Stendhal or Honore de Balzac. Since the chronotope largely determines the new spatio-temporal framework also creates new genres, meanings and ideas. There are fantasy, post-apocalyptic, space adventures.

Now let's consider what defining characteristics of the chronotopes of our time are distinguished by literary critics today.

• Abstraction and mythologization.
• Doubling.
• The use of symbolism.
• The memories of the characters are important.
• Emphasis is placed on the "leaking" time and space "squeezing" a person.
• Time itself can be the center of the story.

Modern culture provides the writer with the opportunity to create separate fantastic chronotopes. In general, time itself is much more abstract today than it was 100 years ago. Now allocate social time and subjective, which are in no way connected with the geographical. Therefore, in literature, time-space is often blurred, depending on the internal affects of the hero.

Structure of time and space

What details does the chronotope in a work of art consist of? What does he look like? Time is formed by the cycles of day and night, winter and summer, birth and death.

Space is built with the help of oppositions: north and south, or the heavenly world and the underworld, as the world is built in Dante's Divine Comedy. Space is also characterized as open or closed, integral or discrete. Closed space is houses, galleries. Here you need a description of household items and the atmosphere in the building. Open is forests, mountains, seas. For an open landscape, it is also desirable to give several characteristics.

Discrete space is used more at the end of XX - early XXI century. This is a conditional, almost non-concretized space. For example, the symbolist writers can take the image of a mirror as space. Simply put, the image prevails over reality, and in this abstract context the hero develops. For example, as in the works of Franz Kafka. The most abstract space is characteristic of romanticism and lyrics. In such a "blurred" space, the hero exists separately from everyday life. And here realistic work cannot be left without the details of everyday life.

Interaction of chronotopes

The more tenses used, the more interesting, intricate the plot. Between themselves artistic worlds are in dialogue. There can be many worlds within one work. Chronotopes can be included in each other, smoothly transition or contrast.

For example, in the book Cloud Atlas"As many as 6 worlds are used with their own time and space.

Historical time moves from the 19th century into the immeasurably distant future. All 6 stories, 6 voluminous chronotopes have clear cause-and-effect relationships, while all stories are collected in one puzzle - they are united by one theme. However, all these interactions of temporary episodes remain, as it were, behind the scenes, only in the context of the plot.

Examples of chronotopes

Another a prime example the combination of several chronotopes into one plot is the integrity of 3 worlds in the classic novel "The Master and Margarita". The first time - the 30s in Moscow. Second chronotope - biblical times and age appropriate material world; the third world in the work is the well-known ball at Woland's.

The third world includes the abstract transformations of Berlioz's apartment and the adventures of Marguerite already in the role of a witch.

It is worth saying that in the novels of F. Dostoevsky time always moves very quickly and this affects the characters. And in the stories of A. Chekhov, the opposite is true: time is almost absent, it freezes together with space.

Conclusion

So, what do we know about the chronotope in a literary work? The meaning of the word is given by M. Bakhtin, he explains this concept as a single structure of chronos - time - and space, where the events of the novel take place. The chronotope is the basis of the novel, which completely determines the genre of the work and gives the writer a "tip" on a possible plot. Time and space have their function in the novel, their structure.

The forms of time and chronotope analyzed by M. Bakhtin are basically no longer used, as completely new ideas and genres are developing. have completely new chronotopes that affect the nature of the narrative and the behavior of the hero.

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 to the humanitarian sphere. “Ukhtomsky proceeded from the fact that heterochrony is a condition for possible harmony: coordination in time, in speeds, in the rhythms of action, and hence in the timing of the execution of individual elements, forms a functionally defined “center” from spatially separated groups.” Ukhtomsky refers to Einstein, mentioning the "splice of space and time" in the 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 events that are alive and indelible from being."

MM. Bakhtin also understood by chronotope "the essential interconnection of temporal and spatial relations".

“The chronotope in literature has a significant genre significance. It can be said directly that the genre and genre varieties are determined precisely by the chronotope, and in literature the leading principle in the chronotope is time. The chronotope as a formally 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 the literature was complicated and discontinuous: they mastered certain specific aspects of the chronotope available in the data historical conditions, only certain forms were developed artistic reflection real chronotope. These genre forms, productive at the beginning, were fixed by tradition and continued to exist stubbornly in subsequent development even when they had already completely lost their realistically productive and adequate significance. 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 the works of Bakhtin, the term has become widespread in Russian and foreign literary criticism. Of the historians, it was actively used by the medievalist Aron Gurevich.

In social psychology, a chronotope is understood as some characteristic communicative situation that repeats itself at a certain time and place. "Known chronotope school lesson, where the forms of communication are set by the traditions of education, 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 an essential interrelation of temporal and spatial relations, artistically mastered in literature. “In the literary and artistic chronotope, there is a fusion of spatial and temporal signs in a meaningful and concrete whole. Time here thickens, condenses, becomes artistically visible; space is intensified, drawn into the movement of time, the plot of history. Signs

time are revealed in space, and space is comprehended and measured by time. Chronotope is a formally meaningful category of literature. However, Bakhtin mentions

the broader concept artistic chronotope", which is

intersection in a work of art of the series of time and space 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 substantiated in the theory

Einstein's relativity and widely used in mathematical

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 "time-space" with general theory

Einstein's relativity. This remark seems to need

clarification. The term "chronotope" was indeed used in the 1920s. 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, has developed in the aesthetics itself, and much before theory

Einstein, which linked together physical time and physical space and

making time the fourth dimension of space. Bakhtin himself mentions, in

in particular, "Laocoon" G.E. Lessing, in which the principle was first revealed

chronotopicity of the artistic and literary image. Description of the static

spatial must be involved in the time series of depicted events

and the story-image itself. IN famous example Lessing's beauty Elena

is not described statically by Homer, but is shown through its impact on

Trojan elders, is revealed in their movements, actions. Thus,

the concept of chronotope gradually took shape in literary criticism itself, and not

was mechanically transferred into it from an entirely different

scientific discipline.

Is it difficult to say that the concept of a chrontop is applicable to all types of art? IN

in the spirit of Bakhtin, all arts can be divided according to their relationship to

time and space into temporal (music), spatial (painting,

sculpture) and spatio-temporal (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, to a very limited extent. Music

does not unfold in space, painting and sculpture are almost

they are instantaneous, because they reflect movement and change very discreetly.

The concept of chronotope is largely metaphorical. If used in relation to

to music, painting, sculpture and similar art forms, it

turns into a very vague metaphor.

Since the concept of chronotope is effectively applicable only in the case

spatio-temporal arts, it is not universal. For all

its significance, it is useful only in the case of arts that have

a story that unfolds both in time and space.

In contrast to the chronotope, the concept of artistic space, expressing

the relationship of the elements of the 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 the artistic space not only of painting

and sculpture, but also about the artistic space of literature, theater, music

A feature of the description by M. M. Bakhtin of the categories of space and time,

the study of which different models the world later became one of the main

research directions 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 to a greater extent deduced from

"a revolution in the hierarchy of times", changes in the "temporal model of the world",

orientation towards the unfinished present. Consideration here - according to

the ideas discussed above - is both semiotic and

axiological, as “value-time categories” are being studied,

determining the significance of one time in relation to another: the value

the past in the epic is opposed to the value of the present for the novel. IN

terms of structural linguistics, one could speak of a change

the ratio of times by markedness (attribute) - non-marking.

Recreating the medieval picture of the cosmos, Bakhtin came to the conclusion that

“This picture is characterized by a certain value accentuation of space:

spatial steps going from bottom to top, strictly corresponded

value steps" . With this

the role of the vertical is linked (ibid.): “That concrete and visible model of the world,

which formed the basis of the medieval figurative thinking, was significantly

vertical, which can not be traced

only in the system of images and metaphors, but, for example, in the image of a path in

medieval descriptions of travel. P. A. Florensky came to close conclusions,

noting that “Christian art put forward the vertical and gave it

significant predominance over other coordinates<.„>Middle Ages

increases this stylistic feature Christian art and gives

vertical, complete predominance, 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 transition period to the Renaissance from the hierarchical vertical

medieval painting to the horizontal, where the main movement became

time from the past to the future.

The concept of "chronotope" is a rationalized terminological equivalent to

concept of that "value structure" whose immanent presence is

characteristics of a work of art. Now it is already possible with sufficient

share of confidence to assert that a pure "vertical" and a pure "horizontal",

unacceptable because of their monotony, Bakhtin contrasted the "chronotope",

combining both coordinates. Chrontop creates a special "volumetric" unity

Bakhtin's world, the unity of its value and temporal dimensions. And it's here

not in the banal post-Einstein image of time as the fourth dimension

space; Bakhtin's chronotope in its unity of values ​​is built on

crossing two fundamentally different areas of moral effort

subject: directions to the “other” (horizontal, time-space, given

world) and direction to the "I" (vertical, " big time”, the sphere of “given”).

This gives the work not only physical and not only semantic, but

artistic dimension.

CHRONOTOP

(literally "time-space")

unity of spatial and temporal parameters directed to the expression def. (cultural, artistic) meaning. For the first time the term X. was used in psychology by Ukhtomsky. It was widely used in literature, and then in aesthetics, thanks to the works of Bakhtin.

In other words, the degree of the birth of this concept and its rooting in the claim-vedch. and aesthetic consciousness was inspired by natural scientific discoveries early 20 V. And fundamental changes ideas about the picture of the world as a whole. In accordance with them, space and time are thought of as "interrelated coordinates of a single four-dimensional continuum, meaningfully dependent on the reality they describe. In fact, such an interpretation continues the tradition of relational (as opposed to substantial) understanding of space and time (Aristotle, Bl. Augustine, Leibniz and others) . Hegel also interpreted these categories as interconnected and mutually determined. Emphasis set by the discoveries of Einstein, Minkowski and others on contain, the determinism of space and time, as well as their ambivalent relationship, are metaphorically reproduced in Bakhtin's X. WITH others 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, to-rye in perception have their own characteristics. Here, as in Bakhtin's X., it means both spiritual and material reality, in the center of which is a person.

Central in understanding X., according to Bakhtin, is axiological. orientation of spatio-temporal unity, the function of which in artistic the work consists in expressing a personal position, meaning: "Entry into the sphere of meanings is made only through the gate X.". In other words, the meanings contained in the work can be objectified only through their spatio-temporal expression. Moreover, their own X. (and the meanings they reveal) possess both the author, and the work itself, and the reader who perceives it (listener, viewer). Thus, the understanding of the work, its socio-cultural objectification is, according to Bakhtin, one of the manifestations of the dialogic nature of being.

X. is individual for each meaning, therefore hu-dozh. work with this t.sp. has a multilayer ("polyphonic") structure.

Each of its levels is a mutually reversible connection of spaces. and temporal parameters, based on the unity of discrete and continual principles, which makes it possible to translate spaces, parameters into temporal forms and vice versa. The more such layers are found in the work (X.), the more it is multi-valued, "multi-meaningful".

Each type of art is characterized by its own type X., due to its "matter". In accordance with this, the arts are divided into: spatial, in chronotopes to-rykh temporal qualities are expressed in spaces. forms; temporary, where spaces, parameters are "transferred" to time coordinates; and spatio-temporal, in which X. of both types are present.

About chronotopic. building artistic works can be spoken with t.z.otd. plot motif (e.g. X. threshold, road, life break and others in the poetics of Dostoevsky); in terms of its genre specificity (on this basis, Bakhtin singles out the genres of an adventure novel, an adventure-everyday novel, a biographical novel, a chivalric one, etc.); in a relationship individual style author (carnival and mystery time in Dostoevsky and biographical time in L. Tolstoy); in connection with the organization of the form of the work, since such e.g., meaning-bearing categories, like rhythm and symmetry, are nothing more than a mutually reversible connection of space and time, based on the unity of discrete and continual principles.

X., expressing common features artistic spatio-temporal organization in a given system of culture, testify to the spirit and direction of the dominant value orientations in it. In this case, space and time are thought of as abstractions, through which it is possible to build a picture of a unified cosmos, a single and ordered universe. For example, the spatio-temporal thinking of primitive people is subject-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 (Space) animatedly. Wed-century. Christ. consciousness has formed its X., which is made up of linear irreversible time and hierarchically built, symbolic space through and through, the ideal expression of which is the microcosm of the temple. The Renaissance created X., in many respects relevant for the present.

Contrasting a person to the world as a subject - an object made it possible to realize and measure its spaces, depth. At the same time, qualityless dissected time appears. The emergence of a unified temporal thinking characteristic of the New Age and a space alienated from man made these categories abstractions, which is recorded in Newtonian physics and Cartesian philosophy.

Modern culture with all the complexity and diversity of its social, nat., mental and others relations is characterized by many different X.; among them, perhaps the most indicative is the one that expresses the image of a compressed space and a flowing ("lost") time in which (as opposed to the consciousness of the ancients) practically non-existent.

THE CONCEPT OF CHRONOTOPE IN MODERN LITERATURE

THE NOTION OF CHRONOTOPE IN MODERN LITERATURE

Tarakanova Anastasiia Andreevna
Nizhny Novgorod State University named after N. I. Lobachevsky, Arzamas branch
the 5-year student of the historical-philological faculty

In a literary work, artistic space is inseparable from the concept of "time".

Thus, literary critics consider time and space as a reflection of the artist's philosophical, ethical, and other ideas; they analyze the specifics of artistic time and space in different eras, in different literary trends and genres, study grammatical time in a work of art, consider time and space in their inseparable unity.

These concepts reflect the correlation of events, associative, causal and psychological relationships between them, in the work they create a complex series of events built in the course of the development of the plot. The artistic text differs from the usual (everyday) text in that the speaker creates an imaginary world in order to produce a certain effect on the reader.

Time in fiction has certain properties associated with the specifics artistic text, its features and author's intention. Time in the text may have clearly defined or, conversely, blurred boundaries (events, for example, may cover tens of years, a year, several days, a day, an hour, etc.), which may / may not be indicated in the work associated with historical time or time, which the author sets conditionally.

The first property of artistic time is systemic character . This property is manifested in the organization of the fictional reality of the work, its inner world with the embodiment of the author's concept, its perception surrounding reality, with the reflection of his picture of the world through the characters.

In a work of art, time can be multidimensional. This property of artistic time is connected with the very nature or essence of a literary work, which has, firstly, an author and presupposes the presence of a reader, and secondly, boundaries: the beginning of the story and its end. In the text, thus, there are two time axes - "the axis of storytelling" and "the axis of the events described." At the same time, the "narrative axis" is one-dimensional, while the "axis of the described events" is multidimensional. The correlation of these "axes" gives rise to the multidimensionality of artistic time and makes possible temporal shifts and multiple temporal points of view in the structure of the text. Often in works of art the sequence of events is broken, and big role play the same temporal shifts, violations of the temporal sequence of the narrative, which characterizes the property of multidimensionality that affects the author's division of the text, into semantic segments, episodes, chapters.

The relationship of temporal and spatial relations M.M. Bakhtin outlined chronotope(which literally means “time-space”). MM Bakhtin used this term in literary criticism to express the inseparability of space and time from each other. Time here represents the fourth dimension of space. In the literature, the chronotope has a significant genre meaning. The genre and genre varieties of a work are determined precisely by the chronotope, and in literature the leading principle in the chronotope is time. Bakhtin believes that in the literary chronotope, time certainly dominates space, making it more meaningful and measurable.

Literary chronotopes have, first of all, a plot meaning, they are organized centers of the main events described by the author. The chronotope, as the unity of the time and place of the action of the work, not only determines the circumstances and forms of communication, but also in a certain way supports the attitude towards these circumstances accepted in a given culture.

The relationship between space and time is obvious. So, in English there are prepositions that express both spatial and temporal relations, such as in, at, before, after, by, next, etc.

By my side - space;

By six o'clock - time.

In linguistics, there is an objective image of space and time. If the space is accessible to the direct perception of a person and is described in the language using words, expressions, phrasal verbs etc., used in their direct or figurative meaning, then the time is not available to the direct perception of the senses, so its models can be changeable.

Consequently, each writer comprehends time and space in his own way, endowing them with their own characteristics, reflecting the worldview of the author. As a result, the artistic space created by the writer is unique and unlike any other artistic space and time. The connection of a literary text with the categories of space and time is conditioned by the linguistic category of predicativity itself, which is the main characteristic of a sentence as a communicative linguistic unit. Since the phenomena of the surrounding world themselves exist in time and space, the linguistic form of their expression cannot but reflect this property of them. Using the language, it is impossible to form a statement without expressing the temporal correlation of its content with the moment of speech or a certain position in space.

from gr. chronos - time and topos - place) - a term introduced by M.M. Bakhtin in literary criticism to designate characteristic ways of describing the relationship of temporal and spatial relations in works of art of different genres, different historical eras, different authors etc. As shown by M.M. Bakhtin, the chronotope in literature has such an important genre significance that the genre and genre varieties are determined precisely by the chronotope, and time is the leading principle in the chronotope. Lit.: Bakhtin M.M. Questions of literature and aesthetics. - M.: Artistic lit.., 1975. Ilgiz A. Khasanov

Great Definition

Incomplete definition ↓

Chronotop

from Greek chronos is time and topos is place. ? the unity of spatial and temporal parameters, aimed at expressing def. (cultural, artistic) meaning. For the first time the term X. was used in psychology by Ukhtomsky (see Ukhtomsky). It was widely used in literature, and then in aesthetics, thanks to the works of Bakhtin. In means. the degree of the birth of this concept and its rooting in the claim-vedch. and aesthetic consciousness was inspired by natural science discoveries early. 20th century and cardinal 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 fact, such an interpretation continues the tradition of relational (as opposed to substantial) understanding of space and time, begun in antiquity (Aristotle, Bl. Augustine, Leibniz, and others). Hegel also interpreted these categories as interconnected and mutually determined. The emphasis put on by 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 Bakhtin's X. On the other hand, this term corresponds to VI 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, to-rye in perception have their own characteristics. Here, as in Bakhtin's X., both spiritual and material reality are meant, in the center of which is a person. Central to the understanding of X., according to Bakhtin, is axiological. the orientation of spatio-temporal unity, the function of which in the artist. The work consists in expressing a personal position, meaning: "Entry into the sphere of meanings is made only through the gate X.". In other words, the meanings contained in the work can be objectified only through their space-time expression. Moreover, the author, the work itself, and the reader who perceives it (listener, viewer) have their own X. (and the meanings revealed by them). Thus, the understanding of the work, its socio-cultural objectification is, according to Bakhtin, one of the manifestations of the dialogic nature of being. X. is individual for each meaning, therefore the artist. work with this t.zr. has a multi-layer ("polyphonic") structure. Each of its levels is a mutually reversible connection of spaces. and temporal parameters, based on the unity of discrete and continual principles, which makes it possible to translate spaces. parameters to temporary forms and vice versa. The more such layers (X.) are found in the work, the more it is polysemantic, "polysemantic". Each type of art is characterized by its own type X., due to its "matter". In accordance with this, the arts are divided into: spatial, in chronotopes to-rykh temporal qualities are expressed in spaces. forms; temporary where spaces. parameters are "transferred" to time coordinates; and spatio-temporal, in which X. of both types are present. About chronotopic. the structure of the artist works can be spoken with t.sp. otd. plot motif (for example, X. threshold, road, life turning point, etc. in Dostoevsky's poetics); in the aspect of its genre specificity (on this basis, Bakhtin singles out the genres of an adventure novel, adventure-everyday, biographical, chivalric, etc.); in relation to the individual style of the author (carnival and mystery time in Dostoevsky and biographical 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 reversible connection between space and time, based on the unity of discrete and continual principles. X., expressing the general features of the artist. spatio-temporal organization in a given system of culture, testify to the spirit and direction of the dominant value orientations in it. In this case, space and time are thought of as abstractions, through which it is possible to build a picture of a unified cosmos, a single and ordered universe. For example, the spatio-temporal thinking of primitive people is objective-sensory and timeless, since the consciousness of time is spatialized and simultaneously sacralized and emotionally colored. Cultural X. of the Ancient East and antiquity is built by myth, in which time is cyclical, and space (Cosmos) is animated. Wed-century. Christ. consciousness has formed its own X., which consists of linear irreversible time and a hierarchically built symbolic space through and through, the ideal expression of which is the microcosm of the temple. The Renaissance created X., in many respects relevant to the present. Contrasting a person to the world as a subject - an object made it possible to realize and measure its spaces. depth. At the same time, qualityless dissected time appears. The emergence of a single temporal thinking characteristic of the New Age and a space alienated from man 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 indicative 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. Middle-century categories. culture. M., 1984; Bakhtin M.M. Forms of time and chronotope in the novel. Essays on the history. poetics // Bakhtin M.M. Literary-critical. articles. M., 1986; Space and time in art. L., 1988; Trubnikov N.N. Human time. being. M., 1987; Florensky P.A. Time and space // Sociol. research. 1988. No. 1; Time in Science and Philosophy. Prague, 1971. N.D. Irza. Cultural studies of the twentieth century. Encyclopedia. M.1996