Chronotope

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Bakhtin scholars [[Caryl Emerson]] and [[Michael Holquist]] state that the chronotope is "a unit of analysis for studying language according to the ratio and characteristics of the temporal and spatial categories represented in that language".{{cite book |last1=Bakhtin |first1=Mikhail |last2=Emerson |first2=Caryl |last3=Holquist |first3=Michael |title=The Dialogic Imagination |date=1981 |page=425 (glossary)}} They argue that Bakhtin's concept differs from other uses of time and space in literary analysis because neither category is given a privileged status: they are inseparable and entirely interdependent. Bakhtin's concept is a way of analyzing literary texts that reveals the forces operating in the cultural system from which they emanate. Specific chronotopes are said to correspond to particular [[genre]]s, or relatively stable ways of speaking, which themselves represent particular worldviews or ideologies.

Bakhtin scholars [[Caryl Emerson]] and [[Michael Holquist]] state that the chronotope is "a unit of analysis for studying language according to the ratio and characteristics of the temporal and spatial categories represented in that language".{{cite book |last1=Bakhtin |first1=Mikhail |last2=Emerson |first2=Caryl |last3=Holquist |first3=Michael |title=The Dialogic Imagination |date=1981 |page=425 (glossary)}} They argue that Bakhtin's concept differs from other uses of time and space in literary analysis because neither category is given a privileged status: they are inseparable and entirely interdependent. Bakhtin's concept is a way of analyzing literary texts that reveals the forces operating in the [[cultural system]] from which they emanate. Specific chronotopes are said to correspond to particular [[genre]]s, or relatively stable ways of speaking, which themselves represent particular worldviews or ideologies.

In the essay ''Forms of Time and of the Chronotope in the Novel,'' Bakhtin describes his use of the term thus:

In the essay ''Forms of Time and of the Chronotope in the Novel,'' Bakhtin describes his use of the term thus:

Linguistic anthropologist [[Keith Basso]] invoked "chronotopes" in discussing Western [Apache] stories linked with places. In the 1980s when Basso was writing, geographic features reminded the [[Western Apache]] of "the moral teachings of their history" by recalling to mind events that occurred there in important moral narratives. By merely mentioning "it happened at [the place called] 'men stand above here and there,'" storyteller Nick Thompson could remind locals of the dangers of joining "with outsiders against members of their own community." Geographic features in the Western Apache landscape are chronotopes, Basso says, in precisely the way Bakhtin defines the term when he says they are "points in the geography of a community where time and space intersect and fuse. Time takes on flesh and becomes visible for human contemplation; likewise, space becomes charged and responsive to the movements of time and history and the enduring character of a people. ...Chronotopes thus stand as monuments to the community itself, as symbols of it, as forces operating to shape its members' images of themselves" (qtd. in Basso 1984: 44–45).

Linguistic anthropologist [[Keith Basso]] invoked "chronotopes" in discussing Western [Apache] stories linked with places. In the 1980s when Basso was writing, geographic features reminded the [[Western Apache]] of "the moral teachings of their history" by recalling to mind events that occurred there in important moral narratives. By merely mentioning "it happened at [the place called] 'men stand above here and there,'" storyteller Nick Thompson could remind locals of the dangers of joining "with outsiders against members of their own community." Geographic features in the Western Apache landscape are chronotopes, Basso says, in precisely the way Bakhtin defines the term when he says they are "points in the geography of a community where time and space intersect and fuse. Time takes on flesh and becomes visible for human contemplation; likewise, space becomes charged and responsive to the movements of time and history and the enduring character of a people. ...Chronotopes thus stand as monuments to the community itself, as symbols of it, as forces operating to shape its members' images of themselves" (qtd. in Basso 1984: 44–45).

Anthropologist of syncretism [[Safet HadžiMuhamedović]] built upon Bakhtin’s term in his ethnography of the [[Gatačko Polje|Field of Gacko]] in the southeastern Bosnian highlands. In [http://www.berghahnbooks.com/title/HadziMuhamedovicWaiting ''Waiting for'' ''Elijah: Time and Encounter in a Bosnian Landscape''], he argued that people and landscapes may sometimes be trapped between timespaces and thus '''''"schizochronotopic"''''' (from the Greek {{lang|grc|σχίζειν}} ({{transliteration|grc|skhizein}}): "to split").{{Cite book|title=Waiting for Elijah: Time and Encounter in a Bosnian Landscape|last=HadžiMuhamedović|first=Safet|publisher=Berghahn Books|year=2018|isbn=978-1-78533-856-4|location=New York and Oxford|pages=74}} He described two overarching chronotopes as "collective timespace themes", both of which relied on certain kinds of past and laid claims to the Field’s future. One was told through proximities, the other through distances between religious communities. For Hadži Muhamedović, '''''schizochronotopia''''' is a rift occurring within the same body/landscape, through which the past and the present of place have rendered each other unbidden.

Anthropologist of syncretism [[Safet HadžiMuhamedović]] built upon Bakhtin’s term in his [[ethnography]] of the [[Gatačko Polje|Field of Gacko]] in the southeastern Bosnian highlands. In [http://www.berghahnbooks.com/title/HadziMuhamedovicWaiting ''Waiting for'' ''Elijah: Time and Encounter in a Bosnian Landscape''], he argued that people and landscapes may sometimes be trapped between timespaces and thus '''''"schizochronotopic"''''' (from the Greek {{lang|grc|σχίζειν}} ({{transliteration|grc|skhizein}}): "to split").{{Cite book|title=Waiting for Elijah: Time and Encounter in a Bosnian Landscape|last=HadžiMuhamedović|first=Safet|publisher=Berghahn Books|year=2018|isbn=978-1-78533-856-4|location=New York and Oxford|pages=74}} He described two overarching chronotopes as "collective timespace themes", both of which relied on certain kinds of past and laid claims to the Field’s future. One was told through proximities, the other through distances between religious communities. For Hadži Muhamedović, '''''schizochronotopia''''' is a rift occurring within the same body/landscape, through which the past and the present of place have rendered each other unbidden.

The concept of chronotope is also used in tourism research. Sociologist [[Hasso Spode]] explains the emergence of tourism in the 18th century as "time travel backwards". The tourist space thus functions as a romantic ''chronotopia''. Spode, Hasso (2010):[https://hist-soz.de/publika/Spode_TimeSpaceTourism10X.pdf "Time, space, and tourism"], in ''The Plurality of Europe. Identities and Spaces''. Eds. Eberhard, Winfried / [[Christian Lübke|Lübke, Christian]], Universitätsverlag, Leipzig, pp. 233-246. Anthropologist Antonio Nogués-Pedregal regards the touristic consuming and shaping of places as a chronotope. Nogués-Pedregal, A.M. (2012): El cronotopo des turismo. ''Revista de Antropologia Social'', 21, pp. 147-171.

The concept of chronotope is also used in tourism research. Sociologist [[Hasso Spode]] explains the emergence of tourism in the 18th century as "time travel backwards". The tourist space thus functions as a romantic ''chronotopia''. Spode, Hasso (2010):[https://hist-soz.de/publika/Spode_TimeSpaceTourism10X.pdf "Time, space, and tourism"], in ''The Plurality of Europe. Identities and Spaces''. Eds. Eberhard, Winfried / [[Christian Lübke|Lübke, Christian]], Universitätsverlag, Leipzig, pp. 233-246. Anthropologist Antonio Nogués-Pedregal regards the touristic consuming and shaping of places as a chronotope. Nogués-Pedregal, A.M. (2012): El cronotopo des turismo. ''Revista de Antropologia Social'', 21, pp. 147-171.

The chronotope has also been adopted for the analysis of classroom events and conversations, for example by Raymond Brown and [[Peter Renshaw]] in order to view "student participation in the classroom as a dynamic process constituted through the interaction of past experience, ongoing involvement, and yet-to-be-accomplished goals" (2006: 247–259). Kumpulainen, Mikkola, and Jaatinen (2013) examined the space–time configurations of students’ technology-mediated creative learning practices over a year-long school musical project in a Finnish elementary school. The findings of their study suggest that "blended practices appeared to break away from traditional learning practices, allowing students to navigate in different time zones, spaces, and places with diverse tools situated in their formal and informal lives" (2013: 53).

The chronotope has also been adopted for the analysis of classroom events and conversations, for example by Raymond Brown and [[Peter Renshaw]] in order to view "student participation in the classroom as a dynamic process constituted through the interaction of past experience, ongoing involvement, and yet-to-be-accomplished goals" (2006: 247–259). Kumpulainen, Mikkola, and Jaatinen (2013) examined the space–time configurations of students’ technology-mediated creative learning practices over a year-long school musical project in a Finnish elementary school. The findings of their study suggest that "blended practices appeared to break away from traditional learning practices, allowing students to navigate in different time zones, spaces, and places with diverse tools situated in their formal and informal lives" (2013: 53).

Chronotope has been further employed as a concept in the study of film narrative. Writing for ''Australian Feminist Studies'', Timothy Laurie argues that a chronotope of moral progress, linked in particular to the connection between childhood and adulthood for troubled men, can be found across films such as ''[[Boyz n the Hood]]'' (1991), ''[[Australian Rules (film)|Australian Rules]]'' (2002), ''[[Batman Begins]]'' (2005), ''[[Romulus, My Father (film)|Romulus, My Father]]'' (2007), and ''[[True History of the Kelly Gang (film)|True History of the Kelly Gang]]'' (2019).{{Citation | title= The Boy Who Looks: Previewing Masculinities and Violence Through Boyhoods on Screen|first=Timothy|last=Laurie| journal= Australian Feminist Studies | year= 2025 |volume=39|issue=119-120|url=https://www.academia.edu/127471912|DOI=10.1080/08164649.2025.2454231}}

Chronotope has been further employed as a concept in the study of film narrative. Writing for ''Australian Feminist Studies'', Timothy Laurie argues that a chronotope of [[moral progress]], linked in particular to the connection between childhood and adulthood for troubled men, can be found across films such as ''[[Boyz n the Hood]]'' (1991), ''[[Australian Rules (film)|Australian Rules]]'' (2002), ''[[Batman Begins]]'' (2005), ''[[Romulus, My Father (film)|Romulus, My Father]]'' (2007), and ''[[True History of the Kelly Gang (film)|True History of the Kelly Gang]]'' (2019).{{Citation | title= The Boy Who Looks: Previewing Masculinities and Violence Through Boyhoods on Screen|first=Timothy|last=Laurie| journal= Australian Feminist Studies | year= 2025 |volume=39|issue=119-120|url=https://www.academia.edu/127471912|DOI=10.1080/08164649.2025.2454231}}

==See also==

==See also==