My argument is that the "idyllic chronotope" is given the same position of centrality in Bakhtin's discussions of space and time as carnivalesque speech genres are in his discussions of language. I devote my second chapter to the exploration of other important theoretical bases of Bakhtin's work in particular, to the belief in the rejuvenating power of folk language and the carnivalesque. ![]() As a first step, I begin with a broad survey, outlining the salient features of Bakhtin's individual chronotopes ancient and modern, and considering fundamental connections between these chronotopes and classical Hollywood genres of the 1940s. These special patterns, along with their signifying functions, were first outlined by Mikhail Bakhtin during the period 1937-1938. In particular, my focus will be on locales and mise-en-scene elements that replicate certain "chronotopic" patterns of time and space organized by our culture in its literature. ![]() ![]() Abstract This dissertation considers Hollywood film locales rhetorically, as the site of many different kinds of community activities and perspectives.
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