Book contents
- Frontmatter
- Contents
- List of illustrations
- Acknowledgments
- Introduction
- 1 Critical models, committed readers, and three Russian Ideas
- 2 Heroes and their plots
- 3 Traditional narratives
- 4 Western eyes on Russian realities: the eighteenth century
- 5 The astonishing nineteenth century: Romanticisms
- 6 Realisms: Dostoevsky, Tolstoy, Chekhov
- 7 Symbolist and Modernist world-building: three cities, three novels, and the Devil
- 8 The Stalin years: socialist realism, anti-fascist fairy tales, wilderness
- 9 Coming to terms and seeking new terms: from the first Thaw (1956) to the end of the millennium
- Notes
- Glossary
- Guide to further reading
- Index
2 - Heroes and their plots
Published online by Cambridge University Press: 05 June 2012
- Frontmatter
- Contents
- List of illustrations
- Acknowledgments
- Introduction
- 1 Critical models, committed readers, and three Russian Ideas
- 2 Heroes and their plots
- 3 Traditional narratives
- 4 Western eyes on Russian realities: the eighteenth century
- 5 The astonishing nineteenth century: Romanticisms
- 6 Realisms: Dostoevsky, Tolstoy, Chekhov
- 7 Symbolist and Modernist world-building: three cities, three novels, and the Devil
- 8 The Stalin years: socialist realism, anti-fascist fairy tales, wilderness
- 9 Coming to terms and seeking new terms: from the first Thaw (1956) to the end of the millennium
- Notes
- Glossary
- Guide to further reading
- Index
Summary
In the preceding chapter we introduced Bakhtin's chronotope. It might be helpful in this chapter, before discussing some favored Russian character types, to review the services it can provide.
Bakhtin devised the chronotope as an aid for “walking into” and coexperiencing the time-space of a fictional world. Prose fiction is a field. Usually it is populated by more than one consciousness and designed to be experienced over time. In all but the most disorienting fictional environments – the absolute absurd, for example, or literature of terror and trauma devised to frustrate all attempts at communication – readers will seek to talk, interact, or empathize with characters inhabiting this field. The character can be a talking frog if we're inside a beast fable, personified Vice or Virtue if inside a medieval mystery play, an alien from outer space if inside a science fiction, or a recognizably human being: the physical wrappings of consciousness are incidental. Both the type of creature and the rules for relating to it depend upon the conventions of the literary genre. What feels strange in one environment can be wholly unmarked in another. In all cases, however, time and space in the chronotope are fused. Some sorts of time – say, in old-fashioned comic strips and soap-opera serials – never add up. Hours, days, years pass, but people do not age; characters might not even remember from one episode to the next. Accordingly, the space that accompanies such time is abstract and non-historical.
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- Information
- The Cambridge Introduction to Russian Literature , pp. 34 - 58Publisher: Cambridge University PressPrint publication year: 2008