Jurisdiction, Scale and Governance: Chronotopes of Law develops a post-metaphysical framework for analyzing the spatio-temporal workings of law and other forms of governance. In this regard, it does not seek merely to combine analyses of legal temporality carried out by anthropologists with analyses of law and space carried out by geographers and socio-legal scholars. Adding two metaphysical abstractions together does not produce anything but somewhat more complex, but equally metaphysical, abstractions. After Kant, 'time' and 'space' are simply categories of human (...) understanding, not metaphysical entities. And, in this book Mariana Valverde develops an anti-metaphysical theoretical approach to law that aims not to theorize the world in general, but rather to be useful to researchers who seek to shed light on the actual workings of law and other forms of governance. Written by one of the foremost theorists in the area, this theoretically innovative work constitutes a major contribution to contemporary studies in law and society. (shrink)

Problem Statement. In modern conditions the reconstruction of self-developing socio-technological- ecological systems, which include man as its element, is actualized. The result of such a construction will be the management of the value of technogenic risk in its biological, social and civilizational forms. And the obvious consequence will be the transition of the development of biopolitical problems to a new, no longer international, but global-evolutionary level. The theory and practice of such a reconstruction can be designated by the category of (...) “Transbiolitics,” which implies the political institutionalization of “ecological re整ection. The article is a logical continuation of our previous publication devoted to the analysis of the transformation of the political process into the main factor of global evolution and the biopolitical transformation of the geopolitical landscape. The purpose of this paper is to create a general sketch of the con散guration of the main trends of the coevolutionary interaction of biological, sociocultural and techno-rationalist modules of the stable evolutionary strategy of the technogenic civilization in the space of bio- and geopolitical connotations of international relations. Based on a combination of methods of conceptual, discursive and political-anthropological analysis (in the context of transbiolitical paradigm) the content of the category “Transbiolitical Chronotope” is revealed: a geopolitically di䍕erentiated set of socio-cultural vectors of modern civilization evolution. In other words, the trans-biopolitical chronotope determines the direction of inclusive technological transformation of both cultural and ecological niche and the biosocial nature of man. The general conclusion/prognosis can be reduced to two theses. Firstly, transbiolitics, formed in a di䍕erentiated cultural-civilizational context, is currently being integrated into the general political process, partially replacing and partially intertwining with geopolitical doctrines in the sphere of international relations. Secondly, the growing con整ict of technological civilization with the cultural and ecological niche constructed by it through the turbulence of the geopolitical sphere of social life can bring the level of technological and civilizational risk to the existential boundary. (shrink)

The Epic of Gilgamesh is a story full of thresholds, liminal spaces, and times of transition. This essay investigates the representation of time and space in Gilgamesh, employing Mikhail Bakhtin’s concept of the “chronotope.” The chronotope is a methodological tool that Bakhtin developed to compare changing depictions of time and space across the history of literature, and I argue that the Epic of Gilgamesh employs what Bakhtin terms “the chronotope of the threshold.” I examine four aspects of (...) this chronotope: the depiction of space, the depiction of time, the human characteristics associated with the chronotope, and its relation to the textuality of the epic. I argue that space in Gilgamesh is structured as a mosaic sequence of externally different but internally homogenous spaces, separated by highly symbolic thresholds. Likewise, the passage of time is repeatedly depicted as transformative, through such temporal markers as the “six days and seven nights,” or “the very first glimmer of dawn.” Further, it is shown that this particular arrangement of space and time, both in Gilgamesh and in Ishtar’s Descent, is associated with characters who are driven by powerful but obscure forces within themselves, crossing thresholds that lead to their undoing. The essay closes with a consideration of how the epic’s depiction of thresholds is related to the threshold of textuality itself, that is, the line that separates reality from representation. (shrink)

The article considers the nature of series as a narrative, focusing especially on its chronotope, i.e. its spatiotemporal coordinates. The concept of chronotope can be applied at at least two different levels of the interpretation of a narrative: the real world of reception and the expressive form of narration. The impact of series entails both aspects. It is for this reason that series, once on television then on the internet, represented a revolutionary turn in the modern experience of (...) storytelling. Series are therefore bound to the progressive spread of a new form of sociality known as a digital “total mobilisation”. Since the era of TV series up to the emergence of web series, seriality has been able to regulate the increase of interaction in the use of visual devices. Series play the role of a dietetical regulator, which designs the spectators’ attention. An artistic, i.e. experimental, exploitation of this new form of storytelling is possible when one considers the emergence of a new narrative genre, which we propose to call the “short form”. (shrink)

RESUMO Este artigo propõe o uso do conceito de cronotopo para analisar a obra literária de emigrantes russos da primeira onda na França. O artigo se concentra na representação artística de mundo da comunidade de emigrantes russos em Paris, ao explorar os poemas de Irina Knorring, uma representante da jovem geração da primeira onda de emigrantes russos. Nesses poemas, a figura do emigrante russo assume uma posição central. Ao examiná-los, esta pesquisa identifica os motivos e as imagens recorrentes, dotados de (...) sentidos espaciais e temporais, e discute aspectos específicos do cronotopo de Paris. Em seus poemas, Knorring explora não só o mundo interior e as particularidades dos indivíduos, mas também reflete sobre os acontecimentos da vida e sobre o destino comum dos refugiados russos no exílio. Nas obras da poeta, o cronotopo serve como um elemento indispensável, estabelecendo uma unidade espacial e temporal coesa, que permite aos leitores perceberem a imagem dos emigrantes russos na Europa (Paris) pelos olhos do andarilho russo. A análise cronotópica presente no artigo oferece uma representação espacial e temporal abrangente da trajetória de vida de emigrantes russos em Paris, abarcando tanto as experiências individuais, quanto o contexto mais amplo da emigração russa como um todo. (shrink)

Popular culture could be understood as a political battleground where conflicting meanings are inscribed into the “ordinary objects” that constitute that public sphere. This is also true for science fiction television series. This article critically examines how political matters and ethical agencies are represented within The Expanse, a series that takes place within a speculative twenty-fourth century milky way. Firstly, I will situate The Expanse within its generic “system of reference.” Then, I will illustrate how political matters are represented as (...) conjoined with the ethical. While the ethical refers to actions of persons, politics refers to fictional conceptions of what Tristan Garcia’s terms we-ourselves, understood as conflicting and overlapping conceptions of “we.” The conjunction between the political and the ethical in The Expanse is spatiotemporal: the characters, the events they are entangled in, and the spaces that connect discrete events develop through fictional and literal time. I argue that the science fictional representations of “we-ourselves,” and the specific spatiotemporal representational capacities of the television series format, can be understood through the application of Mikhail Bakhtin’s concepts of the chronotope and the dialogic. That is, The Expanse’s we-representations are chronotopic and the refractive rhetoric of television is dialogic. (shrink)

The information explosion and digital modes of learning often combine to inform the quest for the best ways of transforming information in digital form for pedagogical purposes. This quest has become more urgent and pervasive with the ‘turn’ to online learning in the context of COVID-19. This can result in linear, asynchronous, transmission-based modes of teaching and learning which commodify, package and deliver knowledge for individual ‘customers’. The primary concerns in such models are often technical and economic – technology as (...) a cost-effective ‘solution’ to educational challenges. In this paper I argue for the importance of dialogic learning space in teaching and learning by means of Information and Communication Technologies, whether in the form of fully online learning, blended learning or face-to-face encounters using ICT affordances. Although the 20th Century theorists Mikhail Bakhtin (1895–1975) and Hans-Georg Gadamer (1900–2002) produced their seminal works before the advent of ICTs, they were both concerned with the quality and authenticity of human engagement with texts and with other persons and contexts. Besides a shared interest in dialogue as an ontological feature of human life and being, they both used spatiotemporal concepts for understanding and interpreting texts. The article draws on Gadamer’s notions of dialogue and horizon, and Bakhtin’s notions of dialogue and chronotope, to conceptualize dialogic possibilities for online education. Its purpose is to provide a framework, grounded in Bakhtin’s and Gadamer’s ideas, for a dialogic approach to online teaching and learning in higher education. (shrink)

Bart Keunen’s boldly comprehensive theory of literature springs from the synthesis between narrative time and space forms called the chronotope. The originator of the theory, Mikhail Bakhtin, argued that each literary culture and each genre uses a family of chronotopes that endow the cultures and genres with their specific aesthetic charm, as well as their cognitive and moral strength. After constructing an archeology of the chronotope, Keunen proposes a remarkably original description of the various types of chronotopes. Chronotypes (...) that emphasize conflict are using Greek mythological names to explain equilibrium, or reconciliation, and conflict chronotopes. He then develops a plot typology that covers the whole history of Western narrative culture. With examples and resonances both ancient and modern, Keunen’s Time and Imagination will equip theorists in a wide range of fields with powerful tools for years to come. (shrink)

In this article, we query binaries of mobility and immobility in language studies via an empirical focus on language/social practices in a site that bridges the global North and global South. To do so, we work from a Southern praxis perspective to analyze discourses/knowledges informing the performance of accounts from Cambodian men, interviewed about transactional same-sex relationship practices between (ostensibly immobile) local men and (ostensibly mobile) male tourists to Cambodia from the global North. The analysis focuses on a process in (...) which participants’ chronotopic awareness of language shapes a negotiation of power, knowledge, and action with respect to these relationships. Encompassing the discursive positioning of selves and others through the deployment of relevant and affective chronotopes, the talk from these Cambodian men allows us to challenge assumptions about (im)mobility, awareness, agency, sexuality, and power, and demonstrate how these are accessed in multiple ways at this site of North/South contact. (shrink)

RESUMO Este artigo tem como escopo averiguar alguns dos cronotopos que organizam a narrativa de Incidente em Antares, de Erico Verissimo. Tenciona-se examinar, em especial, de que modo a polarização política e o esquecimento são elementos constitutivos do romance, por essa razão, cronotópicos. O primeiro é um motivo de natureza cronotópica e ocupa um lugar permanente na organização da vida da sociedade (ficcionalizada); o segundo direciona ao epílogo da narrativa e revela o modus operandi e o modus vivendi dos atores, (...) modos que, por sua vez, estabelecem relação com os cronotopos do esquecimento e do engano relacionados hoje às fake news. Pretende-se compreender a visão de homem e de mundo entalhadas no universo verissiano, se ainda estão presentes na sociedade 50 anos após a publicação, ou se sofreram transformações. (shrink)

Throughout the midrash Pirqe de-Rabbi Eliezer , motifs are recycled to connect primordial time to the eschaton. In this paper, I read passages on the well “created at twilight of the Sixth Day” in light of Bakhtin's notion of “chronotope” . The author of PRE disengages the itinerant well from its traditional association with the desert sojourn and links it, instead, to the foundation stone of the world at the Temple Mount. The midrash reflects the influence of Islamic legends (...) about the “white stone” around which the Dome of the Rock was built . Over the course of the discussion, PRE is understood in terms of the genre “narrative midrash” and compared to classical rabbinic literature in order to illustrate changes in both form and content arising from the author's apocalyptic eschatology. (shrink)

RESUMO Exercício de análise do discurso da dança de espetáculo através do conceito bakhtiniano de cronotopo. A partir do gênero do balé clássico, estabelece-se o teatro como cronotopo constitutivo que concretiza espaço-temporalmente seus valores sócioestéticos. A análise de transgressões cronotópicas permite identificar o surgimento do balé moderno com base em duas coreografias do artista russo Vaslav Nijinski.

La temporalité est pensée spontanément en référence à des unités de mesure qui inscrivent les événements dans une succession réglée, nommée, partagée. Pourtant la mesure de la succession, à l'égal de la mesure des distances spatiales, n'épuise pas la vérité du devenir, du changement. Si les philosophes ont cautionné dans l'ensemble la nature cognitive métrique du temps en l'alignant sur les mathématiques, certains n'ont pas manqué de l'inscrire aussi dans une expérience subjective, un vécu - Philosophie – Nouvel article.

Sleep and dream visions as revelations, narrative devices, signs of illness, and aesthetic-artistic formulae alongside their interpretations, are common experiences shared by all cultures throughout the ages. They exhibit an astonishing variety of contexts and meanings. Rather than abstract time, with its mathematical indistinctness, a dialectical concreteness of signs and symbols in culture determines the specificity and character of dream experience and its complex hermeneutic.

RESUMO Exercício de análise do discurso da dança de espetáculo através do conceito bakhtiniano de cronotopo. A partir do gênero do balé clássico, estabelece-se o teatro como cronotopo constitutivo que concretiza espaço-temporalmente seus valores sócioestéticos. A análise de transgressões cronotópicas permite identificar o surgimento do balé moderno com base em duas coreografias do artista russo Vaslav Nijinski.

Previous research on the representation of nurses in literature has tended to rely on a ‘quasi‐scientific’ method that ultimately produces catalogues of static images. This paper argues that literary representations of nurses must be analysed in terms of situational context. In order to accomplish this die narratological concepts of the chronotope and the donor are used, resulting in a dynamic and powerful reading of nurses in narrative tales.

The article analyzes the interdisciplinary methodology of city research within the philosophical and cultural approach. The authors argue that at present, besides sociological and economic approaches to the interpretation of the city, the cultural and philosophical examination of city is of special interest. It combines both theoretical issues and the practical aspects. The authors present the philosophical and cultural analysis of the city as well as the general concept of chronotopia. The concept of chronotope, proposed by M. M. Bakhtin (...) and his followers, is most often used as a tool for the analysis of fiction. According to the authors, the spatio-temporal diagnostics of the city also has significant theoretical and practical potential. The authors discuss various literary and philosophical texts analyzing the feautures and evolution of the “soul of the city” (written by Russians N.P. Antsiferov, I.M. Grevs, Y.M. Lotman, M.S. Kagan, I.I. Mitin as well as by foreign scholars Y. Slezkine, K. Schlogel, exploring the chronotope of Soviet cities). The article presents other modern Russian and foreign researchers who directly collaborated with the authors of this research in joint urban projects: M. Golovanivskaya (“syntax” of urban squares), “Ural matrix” (A. Ivanov, I. Lisovets, E. Trubina), chronotope of a small Israeli city (E. Rimon), Stanford chronotopes (J. Bender, D.E. Wellbery). Since the city, like any cultural phenomenon, manifests itself within a set of spatio-temporal coordinates, the chronotope can be considered as the basic tool for its philosophical and cultural interpretation. The article substantiates the practical aspects of applying chronotopia to the analysis of the city: chronotopes of the past and everyday life in cities of certain types, strategic opportunities and boundaries of the chronotopes of a given city. The authors concludes that the chro-notopia of city is a transdisciplinary field in the cultural and philosophical studies of the city. (shrink)

ABSTRACT This article aims to defend the dialogical nature of the landscape. Working in between the borders of the Bakhtinian philosophy of language and cultural studies on landscape, we defend that landscape study should not be studied without considering the cultural forms of communication in the different domains of social organization– the speech genres; that landscape is a semiotic encounter with a concrete otherness; that the interpreter who emerges when an area enters a relationship of representation is necessarily characterized as (...) a chronotope; that every landscape is a chronotopic representation; that cultural geography recognizes that the semiotic aspects of the landscape are as material as its morphology. We start from the hypothesis that landscape is a chronotopic representation that is always made possible by means of some speech genre, because it is always a communicative process, and an encounter with another in a situation of socially organized interrelation – it is concrete dialogue. To find the deeper meaning of a landscape, one must recognize and understand its material, historical, geographical, and dialogic nature. RESUMO O artigo objetiva defender a índole dialógica da paisagem. Trabalhando na fronteira entre a filosofia bakhtiniana da linguagem e os estudos culturais da paisagem, defendemos que a paisagem não seja estudada sem considerar as formas culturais de comunicação nos diferentes domínios da organização social – os gêneros discursivos; que toda paisagem é encontro semiótico com uma alteridade concreta; que o intérprete que emerge quando uma área entra em relação de representação é necessariamente caracterizado por um cronotopo; que toda paisagem é representação cronotópica; que a geografia cultural reconheça que os aspectos semióticos da paisagem são tão materiais quanto sua morfologia. Partimos da hipótese de que a paisagem é uma representação cronotópica que sempre se realiza através de algum gênero discursivo, pois sempre é um processo comunicativo e de encontro com o outro em uma situação de inter-relação socialmente organizada – é diálogo concreto. Para adentrar à profundeza de seus sentidos, precisa-se reconhecer e compreender sua índole material, histórica, geográfica e dialógica. (shrink)

In this essay we argue for the possibility to describe the co-presence of species in a community as a consortium built by acoustic codes, using mainly the examples of bird choruses. In this particular case, the consortium is maintained via the sound-tope that different bird species create by singing in a chorus. More generally, the formation of acoustic codes as well as cohesive communicative systems (the consortia) can be seen as a result of plastic adaptational behaviour of the specimen who (...) can solve and avoid conflicts both with conspecifics and with other species in the vicinity. Thus, sign-relations appear to resolve potential conflicts, and as a foundation for symbiotic aggregations. The spatio-temporal configuration of consortia—their chronotope—includes several eco-fields as respective to different functions of the participating organisms. Biological study is combined with a semiotic approach that, as we suggest, should be more often used together to effectively describe ecological processes. (shrink)

This article aims to investigate the political and conceptual power of the successful and highly praised film Bacurau (Juliano Dornelles and Kleber Mendonça Filho, 2019) by inserting it within general trends of contemporary visual culture surrounding the issue of cinematic precarity. The discussion will find its analytical coordinates around the notions of chronotope and dialogism. These tools are notoriously attributed to Mikhail Bakhtin and are intended to investigate regular patterns in aesthetic experiences and to evaluate the differential and subversive (...) potential to be attributed to every case study. The grounding assumption of the following analysis is to understand cinematic experience as an ecological encounter and an affective and conceptual interaction in which viewers find the opportunity to explore and experience complex ethical systems: a productive interrelation that allows us also to connect the discussion with reflections upon general dynamics of neoliberal governance and with trajectories of resistance and revolt against it. (shrink)

Although this study inspects context in general, it is even intended as a prerequisite for a meta-study of contextual time&space in zoo-communication. Moving the scope from linguistics to culture, communication, and semiotics may reveal new similarities between context-perceptions. Paradigmatic historical moves and critical context theories are inspected, asking whether there is a least-common-multiple for perceptions of context. The short answer is that context is relational – a bi-product of attention from a position, creating a focused object, and hence an obscured (...) (back-)ground – the attention’s context. A more comprehensive one is that when the focused phenomenon is culture, semiotics, or communication, context becomes embodied. This recognition triggers new questions: What is the relation between embodied, immanent context and this perception’s external, physical context (its surroundings)? If utterances are regarded as constituted by the triad form-content-act and the dyadic chronotope time&space, what and where is then context? Which challenges will empirical (zoo-)communicational research face if context is split in internal and external versions of context? These questions raise some epistemological and methodological issues. These are discussed based on a framework that regards communication as a micro-macro interplay between utterance and genre. Genres are kinds of communication. More specifically animal genres related to their basic life-functions are called life-genres. A conclusion is that life-genres function as both mental and situational contexts. This complicates empirical research on communication in general, and zoo-communication in particular. The paper concludes that contexts’ relational and embodied nature and the ‘situational’ characteristics of life-genres challenge researchers to validate continuously, shifting between contextualising, decontextualising, and recontextualising. (shrink)

This paper aims to examine how specific aspects of Bakhtin's theoretical perspective might inform our understanding of improvisation. Moreover, it outlines the possible educational implications of such a perspective. Specifically, a sketch of a Bakhtinian conception of improvisation is proposed, a sketch which emphasizes the cultivation of an attitude of consciousness that leads to an understanding of improvised music making as an obligation to explore the unknown, to search for freedom through the responsibility to attend to the uniqueness of irrevocable (...) musical acts. Moreover, emphasis is given to the potential of improvisation to create a music-making context that counters monologic musical discourses, providing a site of resistance to fixity and closure. It is argued that improvisation is dialogic exactly because it creates a very special sense of interaction, which is characterized by unfinalizability and openness. At the same time, improvisation is in need of temporary finalizations which occur through the presence of the audience and the musicians' struggle to raise their minds 'above' their playing, looking at their music from outside and getting 'back in' again. It is hoped that such a perspective might provide the necessary theoretical tools for re-thinking the role of improvisation in music education. A Bakhtinian view on the experience of improvisation would, it is suggested, be educationally valuable exactly because it regards improvisation not as a problem-solving method but a problem-positing approach: as a musical practice that involves children and young people in the experiential pursuit of freedom and the understanding of the "ought" of imagining ways forward, countering monologue by allowing the flourishing of a polyphony of unmerged voices, constituting a distinctive chronotope which provides the possibility of an enactment of everyday living in musical terms. The decision to improvise marks the initiation of a search for a public musical space which is marked by the absence of fear, where exploration of musical freedom is pursued, where everything might happen but not anything goes. (shrink)

Literature has and always will be a “reflection” of human acts and behaviours. This movement of intentional self- reflection of human identities is the main element of narrative imagination. We would like to focus on a special peculiarity of this literary reflection, which is the transfer of Space and Time from reality to the literary world. The result of the transfer is that Space and Time become an autonomus narrative structure able to reveal something new about literary genres and especially (...) about human nature and society. We will compare Michail Bachtin’s analysis on the “chronotope” with Pierre Bourdieu’s studies on the “literary field”. (shrink)

This paper explores Bakhtin’s reception of Goethe’s Wilhelm Meisters Lehrjahre with a view to assess how Bakhtin’s interest in this early chronotopical masterpiece can be understood in the wider context of his utopian thinking and his political eschatologies. Bakhtin reads Goethe’s novel as a critique of totalitarian forms of Socialist Realism as well as Dostoyevsky’s bourgeois realism. Like his contemporary Ernst Bloch, Bakhtin praises the complexity and richness of Goethe’s concept of realism. In the wake of Hermann Cohen, Georg Simmel (...) and Friedrich Gundolf to whom Bakhtin alludes and whom he quotes, Goethe is regarded as a modern literary and anthropological role model, the epitome of Bildung. For Bakhtin, Goethe’s and Rabelais’ writings about the carnivalesque constitute complementary forms of reflection of and agents for social and cultural transformation in modernity. (shrink)

This paper first advances and discusses the hypothesis that so-called “iconic” or (for the auditory sphere) “echoic” memory is actually a form of perception of the past. Such perception is made possible by parallel inputs with differential delays which feed independently into the sensorium. This hypothesis goes well together with a set of related psychological and phenomenological facts, as for example: Sperling’s results about the visual sensory buffer, the facts that we seem to see movement and hear temporal Gestalts, and (...) the fact that we sometimes seem to hear sounds only after they have stopped. In it most simple form, and formulated in the somewhat misleading information processing idiom, my hypothesis says that each one of a number of parallel input lines with different delays feeds into a spatially separate sensory unit. The set of such units then holds information about the immediate past in what one might call a “chronotopic” sensory map. This contrasts with the idea (common in sensory buffer theory) that the received sensory information is kept (while possibly decaying) in the same unit for some time after it occurred. The hypothesis also contradicts the theory that all sensory information passes through the same unit but is then successively passed through a unidirectional chain of separate units, where the past experiences then become represented (the shift register hypothesis). The main advantage of my theory, beside the natural explanations it offers for the above-mentioned kind of phenomena, is that it postulates a parallel – and therefore robust – rather than a serial mechanism for the registering of temporal information. It can of course easily be modified to fit more complex models of the sensory cerebral code(s) as well as of the chronotopic representation as such. -/- In the second part of my poster, I advance a corresponding hypothesis for those motor commands which control brief movements. At closer inspection, most socalled “ballistic” movements do not seem to be truly ballistic (in the sense in which the movement of a cannonball is so) since the brain must exert some kind of feedforward control over the later part of their trajectory. I suggest that this control is at least sometimes realized by means of differentially delayed output from a chronotopic representation of successive segments of the movement. Not only could this be a biologically natural way of ensuring efficient adaptability of the movement; the hypothesis also explains the not uncommon experience of “seeing the whole movement laid out in advance” when it is initiated. (shrink)

The article considers the narrative component of porn, in particular its temporal aspects. Pornography is defined as specific exonarrative, which is a form of disclosure/stimulation of sexual act as continuation of sex/narrative on the other side. The article determines out several moduses of time in the exonarrative of porn. In particular, it is argued that the sequence of variation and the sequence of scenes form the linear time of porn, which intersects the time delay. Emphasis is placed on continuation, repetition (...) and delay as modus of time of porn/sex that are directly related to enjoyment. Finally, it is concluded that the chronotope of the pornographic exonarrative is -here-being. Further, command/subjugation is considered as the main structural opposition in exonarrative of porn. In this context, porn and magic are compared. This is a magical time of magic, the action of which to take place immediately, as soon as there is a command. Thus, the magic of porn expresses/exposes the power, the paradigm of which is sex. The magical function of sex is to perform immersion when a certain multiple of sexual attributes has multiple reflections. And the porno-narrative homeomorphism of sex is revealed in the obligatory reciprocity, no matter what the social positions of bodies and actors. Porn is a utopia in which any possible antagonism, any problem is removed by sex. Sex is solution or deviation from the problem. The pornographic exonarrative transposes the solution into another/external plane, on the other side of the problem. Finally, it is argued that enjoyment arises from the creation of tension between the urgency of nature, passion, flesh, on the one hand, and the projection of history, ritual, language, on the other. (shrink)

In this article, the author analyses and compares the views of Kant, Heidegger, Husserl, Brodsky and Bakhtin, and examines the problem of time, space, and contemplation. Another subject of consideration is the finitude of being, which combines the three previous aspects.

The term “dystopia of evolution” which the present article proposes qualifies an actual aspect of Latin American dystopic narrative, especially Chilean and Argentinian, in relation with an anti-Darwinist vision of human civilization. This trend is analyzed in two Chilean novels: El asombro by Juan Mihovilovich and Acerca de Suárez by Francisco Ovando, as well as the Argentinian novel: Los restos by Betina Keizman. In these works, the presence of a chronotope of the catastrophe allows to discern the different manifestations (...) that the motive of involution takes. Finally, the article concludes on the meaning and interest of this peculiar form of Latin American dystopia and the problematic developed, in the corpus of analysis, around the environment, which allows to consider these novels under the notion of ecotopia. (shrink)

Various fields have examined the activity of flirting, predominantly based on experimental and reported data; the interactional workings are therefore often overlooked. Based on emails and chats from two Danish online dating sites, this article investigates how users negotiate romantic connections through the flirting strategy of ‘imagined togetherness’, linguistically constructing imagery of a shared future. Using the notion of the chronotope, turn-by-turn analysis demonstrates how users, embedded in the activity of getting to know each other, tenuously communicate romantic interest (...) by alluding to future points at which they might be together. Central to the strategy is a sequential pattern of avoiding closure and thereby preserving the imagery’s implicitness. The article concludes by arguing that while imagined togetherness functions to probe interests and thus protects oneself from potential rejection, it also draws on fundamental dynamics of fantasy in nourishing the excitement of romantic possibility. (shrink)

This article examines the temporal dimension of contemporary architecture, particularly in light of the climate crisis. Mikhail Bakhtin’s category of “adventure-time” is redeployed to describe the general chronotope of postmodernism, one in which contingency and spatiotemporal disjunctions are dominant. In contrast, this essay argues for a new emphasis on duration as a means of attending to temporal continuity. Potential paths for expanding architecture’s critical engagement with duration are explored.

This paper considers Achebe's No Longer at Ease in terms of its modest canonical fortunes and its peculiar formal construction. The paper argues that the novel's urban setting is produced through an emergent and local noir style, that this setting indexes the increasing centrality of the city in late colonial African life, and that it formally responds to the success of Achebe's rural Things Fall Apart and its problematic status as a paradigmatic African text. The paper suggests that No Longer (...) at Ease 's foreign and local horizons of interpretation, as symptoms of an ongoing imperial world-system, are internalized and symbolically resolved by the novel's instantiation of Lagos as chronotope. The paper's methodological intervention offers a hermeneutics of literary setting through which to elaborate the relationships between form, literary institutions, and material conditions in the postcolony. (shrink)

The principal aim of this article is to examine the capacity of existential analytic to suggest alternatives to entrenched dichotomies and dilemmas in practice theory, and more generally, in social theory. In this regard, the doctrine of trans-subjective existentialism is developed. The underlying aim is to inform hermeneutic engagement with social practices’ potentiality-for-being in order to illuminate a possible existential ontology of practices. It is argued that the concept of chronotope should be central in this ontology. Thus, the possibility (...) of hermeneutic realism about social practices becomes open to scrutiny. (shrink)