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This article investigates the linguistic practices of an expanded middling group of migrants engaged in the business domain. Taking an ethnographic approach to linguistic data from this Chinese community, the present study argues that scales and chronotopes are pivotal to gaining a nuanced understanding of the complexity of migrants’ linguistic practices. These practices are illuminated by their language choices, linguistic ideologies, and linguistic strategies for coping with their language challenges. This complexity is demonstrated not only in the synchronisation of multiple interacting scales and chronotopes in every here-and-now but also in the dynamicity of migrants’ agentive navigation across divergent chronotopes and scales. This research contributes to the understanding of the linguistic practices of middling group migrants in South-South migration and advances the perspective of complexity in sociolinguistics and migration studies while also enriching the scalar-chronotopic approach to linguistic analysis. [ABSTRACT FROM AUTHOR]

The language items present in the linguistic landscape are deeply embedded in history, often bearing varied time references and indexical loads. This study explores the preserved linguistic landscape of a former concession area in Wuhan, China to elucidate the intricate interplay of multi-layered historical meanings that intersect and converge in the public space. By employing the theoretical constructs of chronotope and polyphony, this study examines how the area is transformed into a liminal space in linguistic and symbolic terms. The findings indicate that the preserved linguistic landscape can be categorised into three types based on time–space configurations: preliminal chronotope, liminal chronotope, and postliminal chronotope, corresponding to signs in original forms, signs refurbished while retaining the original texts, and signs incorporating original texts and new additions. These signs symbolically reference the past, present and future, embodying historical and cultural preservation, reflecting societal and economic development, and enhancing the city’s appeal as a tourist destination. This research contributes to understanding the complex discourses and communicative dynamics within linguistic landscape, offering insights into the interplay between history, culture, and language in public spaces. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Linguistic Anthropology is the property of Wiley-Blackwell and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The cinema of Asghar Farhadi has garnered significant attention from researchers and critics over the past 20 years. Farhadi's reputation has increased due to winning prestigious international awards in the last two decades. His works have been analyzed through various disciplines in humanities such as psychology, ethics, philosophy, sociology, and women's studies. Additionally, his films are notable for their examination through different film criticism methods, including screenplay theories, narratology, and mise en scène analysis. This article focuses on the role of thresholds in Farhadi's films, in A Separation, The Past, and The Salesman. Key story events, tense moments, critical decisions, and characters' confrontations with ethical crises often occur in spaces like hallways, staircases, entryways, and doorways. Bakhtin introduced the concept of thresholds in his critique of Dostoevsky's works, explaining it within different types of narrative chronotopes. Bakhtin believed that Dostoevsky frequently depicted individuals at the threshold of irreversible decisions, at critical moments of crisis, and at pivotal life changes, placing characters in a threshold through appropriate chronotopes. Julia Kristeva's social-psychoanalytic criticism has expanded Bakhtin's threshold. She invokes the term "threshold" (Fr. le seuil) to indicate "the common point" at which her major concepts converge. Kristeva's work confronts the unsettling processes of meaning and the subject as a more general socio-historical crisis, which may be witnessed in art. Based on the theories of Bakhtin and Kristeva and the analysis of the three mentioned films, various aspects of thresholds in their theories can be identified, including narrative thresholds, bodily thresholds, the kitchen as a substitute for the drawing room (the hall, the dining room), thresholds in mise-en-scène, the dynamic of subject absence/presence, the threshold of the semiotic/symbolic, and the open-ended dialogue. The social-psychoanalytic analysis of these films revealed that thresholds are an effective narrative device for character development and engaging the audience. While generally being classified as social dramas, Farhadi's films portray deep personal crises. This apparent contradiction can be understood through Bakhtin's concept of thresholds and its expansion in Kristeva's social/psychoanalytic approach. Bakhtin viewed human social nature as inherently interactive, and Kristeva considered the threshold between individual/society and the space between the personal/public as the site for the formation of speaking subjects. Therefore, significant personal events with the emergence or disappearance of the subject inevitably occur at the threshold of confrontations. From this perspective, personal crises are inherently social, and examining social issues in contemporary society is possible through analyzing personal issues and problems. Following the collapse of symbolic systems, Kristeva sees art and psychoanalysis as the only means of social analysis in the modern era, as these two fields document the overflow of the semiotics. The main characters in the three films analyzed belong to the middle class, a social group in Iran characterized by the decline of religious/traditional values. Thus, their personal/moral crises, according to Kristeva, are contextualized within a larger historical/social crisis. As emphasized in Kristeva's "Fantasy and Cinema," and highlighted in the analysis of these films, personal stories of suffering in cinema have the power to authentically represent social realities.

This article analyses how expressive tools and semantic constructs have evolved in creating Russian advertising content over the past decade. The study pinpoints the key drivers behind the corresponding shifts in the form and substance of television commercials: advancements in digital and media technologies, the competition posed by emerging formats of native and contextual online advertising, and the modern socio-cultural leanings towards traditional values. Methodologically, the paper employs a chrono- topic approach, viewing an advertisement as a brief cinematic piece that reconstructs a specific type of symbolic time-space. The article provides * Translated by Anna P. Evstropova. a comparative analysis of technological and value factors that shape the visual narratives of contemporary Russian TV commercials, exemplified by the evolution of standout advertising strategies in the commercial sector (such as Tele2, Alfa-Bank, Sber, etc.). Concluding findings suggest a notice- able shift in symbolic chronotope dominants, driven by technological and ideological influences, compared to the early 21st century. The piece illus- trates how the previously prevailing chronotopes of stylization and carnival are giving way to the chronotope of the family, encompassing the happiness chronotope, while the wealth chronotope is visualized as inner freedom, evoking the dynamism of a metropolis or expressed through avant-garde aesthetics. A significant trend in contemporary commercial advertising is its role in fulfilling educational objectives and contributing, alongside social advertising, to shaping cultural and value systems. Статья посвящена анализу трансформации выразительных средств и смысловых конструктов, используемых для создания отече- ственной рекламной продукции последнего десятилетия. В исследова- нии определяются основные факторы, вызывающие соответствующие изменения формы и содержания телерекламы: развитие цифровых и медийных технологий, конкуренция с новыми форматами нативной и контекстной Интернет-рекламы, а также современные социокультур- ные ориентиры на традиционные ценности. Методологически в работе использован хронотопический подход, в контексте которого рекламный ролик рассматривается как короткое экранное произведение, воссозда- ющее определенный тип символического времени-пространства. В ста- тье проведен сравнительный анализ технологических и ценностных факторов, влияющих на формирование образного ряда современной российской телерекламы на примере эволюции наиболее ярких реклам- ных стратегий в коммерческом секторе (Теле2, Альфа-Банк, Сбер и др.). Автор приходит к выводу о том, что под воздействием технологических и идеологических факторов наметилась тенденция к изменению доми- нант в символических хронотопах по сравнению с периодом первого десятилетия XXI века. В статье продемонстрировано, как доминирующие ранее хронотопы «стилизации» и «карнавала» уступают место хронотопу «семьи», включающему в себя хронотоп «счастья», а концепт богатства визуализируется как хронотоп «внутренней свободы», что ассоцииру- ется с динамикой мегаполиса или выражается авангардной стилисти- кой. Одной из важнейших тенденций развития коммерческой рекламы сегодня можно считать то, что она призвана выполнять воспитательные задачи и, наряду с социальной рекламой, участвовать в формировании культурно-ценностного фона.

Ветковский музей старообрядчества и белорусских традиций предоставляет уникальную возможность изучать иконопись и убор икон, происходящих из единого историко-культурного региона, в большинстве созданных в старообрядческом центре Ветки — Стародубье. Сравнение в стилистическом и семиотическом аспектах двух чеканных окладов XVIII века из деревни Новый Крупец на иконы «Успение» и «Никита-воин в житии» обнаруживает в композициях, сюжетах, мотивах и технологиях этих произведений способы создания единого образа пространства-времени, рассчитанного на взаимодействие иконы и зрителя. Семантически близкие процессы наблюдаются и в местной иконописи. Архетипы, древние приемы моделирования хронотопа иконы взаимодействуют с художественным языком Нового времени, порождая феномен визуальной иконы.

Examines the specifics of the implementation of the North theme in the subgenre of modern domestic folk horror using the example of novels and stories by D. Bobyleva, O. Kozhin, L. Lvova, A. Podolsky, M. Romanova. The geography of the North in folk horror includes Karelia, the Arkhangelsk region, Siberia and Yakutia. The work was carried out using motive, cultural-historical, historical-genetic methods. It turns out that this subgenre is built on the basis of the chronotope of locations remote from large cities (towns, villages, settlements), which are associated with the chthonic world and threaten people (the motif of a cursed place). An obligatory element of the poetics of folk horror is the depiction of heroes who are carriers of a pagan worldview: shamans, priests, sorcerers, and the plot is initiatory: an individual, encountering supernatural beings (whose genesis is folkloremythological in nature), joins the archaic culture and becomes its full-fledged part. The author comes to the conclusion that not only supernatural creatures are dangerous to humans, but also nature itself: heroes risk drowning in a swamp, freezing during a snowstorm, etc. Fulfilling the requirements of the genre, writers frighten the reader and make him feel disgust, but at the same time they convey the special attractiveness of the North, reproducing the customs and rituals of autochthonous peoples.

The problems presented in Flowers for Algernon (1966) the novel by American writer Daniel Keyes (1925-2014), fall within the realm of existential questions of the 20th century: the meaning and purpose of human life, family and interpersonal relationships, the place of a deviant personality in society, the ethics of experimental science and medicine, empathy and compassion, and the role of science and knowledge, among others. The novel has been included in lists of the greatest books of our time, has become a modern classic, and the story of the same name from 1959 is mandatory reading for schoolchildren in the USA and Japan. This represents the first study of the category of artistic time in the novel. This consideration is relevant not only due to its significance as one of the main structural elements of the text, but also from the perspective of its importance in constructing an event sequence through the lens of the author’s unique vision and the formation of the intratextual psychomental paradigm of the protagonist. The relevance of the work is further substantiated by the interdisciplinary nature of the study, which combines linguistic and literary criticism approaches, aimed at understanding the functional capabilities of the category of time as a universal tool. This tool plays a key role in works of complex genre, including Keyes’s novel. The study identifies the main guidelines for developing the novel’s temporal structure design: “zero chronotope”, dichotomy “past vs present”, introduction of reminiscences as temporal catalysts of psycho-emotional outbursts and self-reflection. Time serves as the central construct within the text of the novel, intricately weaving together all plot lines and embodying a conceptual framework.

The game principles of the art space's organization in D.W. Jones's novel Hexwood are considered. The aim of the study is to identify Hexwood`s game aspects in the context of fantasy's genre features in the XXth century`s second half. Objectives of the study are to formulate the game principles of the fantasy genre and to trace their realization in the novel. The general thesis is that the game's phenomenon has been actualized in literature and art at the compositional and thematic levels, which corresponds to the game culture's tradition. In fantasy, game features are particularly revealed, which allows us to distinguish three aspects of their consideration: game principles of secondary world creating, problem-themed field, intertextual play with pretexts. All of this points to great gaming potential of the fantasy. It is concluded that the space and the time in D.W. Jones's novel Hexwood become more complex and non-linear. It's also revealed several levels of associations and allusions to the Arthurian cycle. All personages are involved in the cyborg Bannus's game, based on the Arthurian tales, but in addition to their recognizable roles (Arthur, Merlin, Amfortas, etc.), almost all of the characters play other roles, not realized by them.

This article explores how contemporary climate theatre navigates the distorted scales of the Anthropocene and the climate crisis through its unique aesthetics – embodiment, spatiality, temporality, and reciprocity. Previous literature on climate theatre has largely discussed its anthropomorphism and anthropocentrism in relation to global warming. Building on ecodramaturgical frameworks, this article draws on ecocritical appropriations of Mikhail Bakhtin’s chronotope to investigate how theatrical time and space make the abstract nature of climate change tangible. The argument posits that chronotopes of climate theatre are crucial for understanding how contemporary theatre and performance tackle scalar derangement. By drawing on interdisciplinary approaches from environmental humanities, performance and theatre studies, and posthumanism, the study situates itself at the intersections of performance art, political theatre, aesthetic theatre, drama, and environmentalism, examining how different theatrical formats use theatrical ‘timespaces’ to address the spatio-temporal complexities of the Anthropocene. It discusses Ella Hickson’s Oil (2016); April De Angelis’s Extinct (2021); Extinction Rebellion’s “The Sea Is Rising and so Are We” (2019); and Chris Rapley and Duncan Macmillan’s 2071 (2014), showing how each uses theatrical chronotopes to transform deep time, slow violence, and the dispersed nature of climate change into the ‘hyper-present’ of the stage.

Fantasy fiction is renowned for its fantastic worlds and intricate multiverses. The Ocean at the End of the Lane exhibits probably one of the most complex such structures identifiable in Gaiman’s works. Set as a memorate, with a frame and an inset, it has an intricate temporal and spatial scaffolding; the passage between the two being triggered by distinct recall cues and bringing forth past traumatic events. The hesitation between reality, memory, trauma and fantasy makes the reader wonder whether the events described are truly memories, if they are the main character’s way of coping with trauma or if they belong to an alternate timeline. The complexity of the novel’s chronotopic structure is mirrored by the multiple layers of the main character’s memories; their instability corresponds to the intricacy of the human psyche. This study aims to analyse and lay out the multilayered structure of the novel’s multiverse, to catalogue the alternate timelines, as well as the temporal and spatial constructs brought forth by trauma.

The present study focuses on Ana Blandiana’s diary Mai-mult ca-Trecutul / More-than-the Simple Past: 31 August 1988-12 December 1989 published in 2023, which chronicles the last year and a half of communist regime in Romania during which the author was banned from publishing. For its contemporary readers, the text raises a lot of questions as it provides invaluable context for mapping the dynamic and still controversial geography and temporality of an era that is neither far enough to be considered “the Past,”/settled history, nor close enough to be referred to as “recent past” by younger generations. As my essay demonstrates, this still contentious past defined by a collective trauma will probably continue to remain suspended in the insoluble ambiguity of a neither-there nor here, and a never-entirely-then nor now for those who lived it. Blandiana’s title preserves the sense of this past’s inherent undecidability, which evokes Derrida’s différance, a trope which haunts not only historical interpretations, but discourse itself, whose most persuasive accounts hide a fundamental absence: a black hole at its very center.

The study is devoted to the consideration of the existence of mortality in the works of contemporary Russian-speaking Tatar writers (Salavat Yuzeev, Rustem Sabirov, Shamil Idiatullin, Albina Nurislamova, Guzel Yakhina), on the one hand, influencing the macropoetics of works, contributing to the complication of compositional structures, on the other hand, reflected in micropoetics (complexes of motives that actualize the thanatological code, lexical units expressing anti-vital reflection, the living-dead dichotomy). The mortal dimension is associated with the poetics and aesthetics of magical realism, the features and symptoms of which are found in the works of these authors. Particular emphasis in the article is placed on the interpretation of death in the works of the German art critic Franz Roh, who substantiated the category of anti-vitality as fundamental to magical realism. The poetics of death is associated with the existential orientation of the works. Conclusions are drawn that mortality is one of the main artistic constants in the works of these authors, which contributes to the consideration of the traditions of magical realism in their work.

When the twentieth century was around the corner, the plurality of residents and newcomers grew in numbers, forming a dynamic and heterogeneous urban society in colonial Java. Augusta de Wit was one of the Dutch authors who wrote about Java during her stay there in her book form travelogue titled Java: Facts and Fancies. Her experience in Java had left an influence on her, which is shown in her fiction works. One of them is the short story Vijandschap that portrays mostly the rural and idyllic life of a coastal community, yet includes the participation of the town (Batavia) as a commercially promising place. This qualitative study aspires to illuminate how the rural beach community reconciled with the town and to confirm what she means by natural beauty by focusing on two chapters “The Town" and “On the Beach.” It is conducted by employing a close reading method and Torop’s chronotopical analysis consisting of topographical, psychological, and metaphysical chronotopes in Augusta de Wit’s perspective while considering the notion of tropicality. This study discovers that there is a relational function of town as a dynamic marketplace to the local folks on the beach and a “space of home” for the Europeans, while the beach as fruitful home to the native beach community and a soothing recreational place to de Wit. Moreover, natural beauty is not confined to nature solely, but includes the locals alongside their character and habits, who are an intrinsic tropical part of Java.

The article describes such systemic anthropological characteristics of thinking as multidimensionality, projectivity, inclusion in life relationships, transtemporality, and nonlinearity. On the one hand, these characteristics are inconvenient phenomenological "anomalies" for the classical psychology of thinking. On the other hand, in the context of progressive anthropologization of psychological cognition and interdisciplinary discourse, they make it possible to study thinking in a more holistic and human context, as well as to establish new conceptual links between the psychology of thinking and the psychology of human existence. Thinking is a multidimensional and nonlinear act that simultaneously unfolds in several registers of one’s mentality, capturing a variety of temporal, active, and noetic aspects of one’s being. The projective function of thinking consists in overcoming event uncertainty, building a semantic markup of living space, and producing semantic orientations in the activity and existential dimensions of the living environment. The fact that thinking is part of one’s life relationships ensures the integrity and transtemporal continuity of one’s life world. According to the polyphonic principle of mental dynamics, the dialectic unity of its spatial-temporal and modal correlations unfolds at each moment of thinking.

In 1994, Enric Miralles published From what time is this place?, a brief text where the relationship between space and time is claimed through the form of the Igualada Cemetery Park and different conditions of time are considered. The title is presumably written after the book by Kevin Lynch What time is this place?, where the human sense of time and the relationship between the innate consciousness of time and place and the objective time of the world are addressed. Related to this concept arises the notion of the chronotope—from kronos, time, and topos, place; literally timeplace, defined by Mikhail Bakhtin as the intrinsic connectedness of spatial and temporal relationships assimilated in the artistic form. Approaching Miralles’ own words, this text examines the condition of architectural form as a chronotope in the Igualada Cemetery Park and in three of his projects to analyze, firstly, the strategies used and, secondly, the consequences of the connection of space and time in the form and in space and time themselves: the spatialization of time, temporalization of space, and temporalization of time. As a result, some reflections contribute to the contemporary debate on form in architecture as a spatiotemporal discipline: a chronotopic architecture.

This paper will read for the representation of space in the Vietnamese American author Ocean Vuong's narrative essay "The Weight of Our Living: On Hope, Fire Escapes, and Visible Desperation". The paper places Vuong's text into conversation with theorists of narrative and architectural spaces – Yi-Fu Tuan, Umberto Eco, and Mikhail Bakhtin, among others – and draws on critical refugee studies to explore the representation of spaces and places in their relationship to Vuong's account of refugee experience and trauma. In the essay's manipulations of narrative space, meditations on architectural space, and engagements with theories of trauma, a spatial understanding of trauma emerges and comes to bear on first wave literary trauma theory, which the essay builds on and departs from with the suggestion that architectural space functions semiotically and is a medium of language by which topics socially and psychologically repressed can be "spoken" despite social taboos and prohibitions. Working against public discourse which reduces refugees to victims of trauma (in their country of origin) and beneficiaries of social uplift (in their resettlement country), Vuong critiques the discursive framing of the refugee as needful ward and perpetual other and works toward a means of speaking about personal experience that speaks back to dominant narratives about refugees. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Fine Arts: Performing Arts & Music is the property of University of Tehran, College of Fine Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Using the social-spatial notions of geosemiotic assemblage and chronotope, this participatory ethnographic case study examines the intersection of store signs in the Africatown in Guangzhou and transnational African migrants' meaning-making and place-making practices. Data collection is employed through a combination of traditional and participatory ethnographic methods including visual texts, interviews, and virtual field observations with fieldnotes. Findings from this study indicate the Africatown as geosemiotic assemblage, which echoes the principle in human geography that material and social environments are imbued with meanings in daily practices. The Africatown as geosemiotic assemblage is a multifaceted and dialogic process in which meanings, perceptions, multi-senses, and symbols are tied together to a locality. This study illustrates that the African migrants' perceptions of the Africatown are mediated by both material and social environments. Specifically, African migrants are able to engage in multilingual social practices with both non-human artefacts and humans, placing great emphasis on spatiality in their reconceptualization of Africatown as more than a local African migrants' hub. This study further demonstrates that the materials assembled in the African migrants' milleu are historical, social, cultural, and multilingual in facilitating their reconstruction of the Africatown's transnational space and African migrants' identities. This study argues that a geosemiotic assemblage approach is salient in expanding current understandings of multilingual and transnational research by foregrounding materiality in meaning-making and place-making practices. [ABSTRACT FROM AUTHOR]

This article argues for the utility of Mikhail Bakhtin's literary theories in developing dialogic and decolonial filmmaking practices. Using the example of our research-led documentary film, All That Is Buried, we challenge traditionally hierarchical structures of film production in which primary authorship lies with the Director/Producer, by implementing dialogic methods of co-creation between filmmakers, researchers and participants. We explain how Bakhtin's work on dialogism, chronotope, transgredience, polyphony and participative thinking provides the production and filmic tools and methods to host the distinct and equal voices of the South African creatives featured in the film – Zizipho Bam, Sindiswa Busuku, Haroon Gunn-Salie, and Dizu Plaatjies – maintaining throughout a sense of shared and equal investment in the project, and ethical responsibility to the collective. All That Is Buried shows the four participants discussing their work, ideas and experiences as they move between their homes, places of work, sites of inspiration, and artistic installations in and around Cape Town over the course of a day. In both process and product, we demonstrate how our co-creative methods support, and are supported by, practices of decolonial filmmaking, and provide a model useful and replicable for capturing Arts and Humanities research on film. [ABSTRACT FROM AUTHOR]

In 1997, I conducted interviews with and observed former East German academics who belonged to the Leipzig branch of the Rosa Luxemburg Association. This segment of the East German intelligentsia shared counterfactual narratives about how reformers could have changed the trajectory of East German history. Identifying with the reformers, they signalled their loyalty to the German Democratic Republic while distancing themselves from its reputation for political repression. They also shared narratives about the post-socialist era in which they cast themselves as victims of Germany's reunification. These narratives implied that they did not unduly benefit from reunification nor pose a threat to the new democratic order. Other segments of the former East German intelligentsia, such as jurists and journalists, represented themselves as professionally active in the post-socialist time-space, consciously shaping their reputation in relation to their western German colleagues. The article concludes with a comparison to the Romanian and Polish intelligentsias, who, unlike segments of the East German intelligentsia, cast themselves as contributing to their nations' respective futures. [ABSTRACT FROM AUTHOR]

When the first Sandman comics (Gaiman et al., 1989-1996) were published in the late 1980s, the representation of canonically queer characters in a mainstream publication was something of a small revolution, not least due to the Comics Code Authority's lasting influence. Recently, the first sixteen volumes were adapted as a Netflix series (2022) which remediates and expands on the comics' queer potential. Not only do casting choices and changes to the characters and narratives reveal recent shifts in how queerness is articulated in contemporary (U.S.-American) culture and media, but the transposition from comic to TV series also sheds light on the queer potential inherent to the respective media forms. To substantiate these claims, I offer a close reading of the comic issue #6, "24 Hours," and its adaptation in the Netflix episode "24/7." Through the key concepts of heterotopia and the chronotope, I analyze the particular relations of time, space, and subjectivity through which the texts challenge heteronormative ways of being and open up spaces of queer possibility. The comparative perspective reveals how queerness is articulated at different points in time, and how struggles for representation are enacted again and again in and through media. [ABSTRACT FROM AUTHOR]

While criticism of growth by a diverse but overall left-leaning degrowth spectrum has become increasingly prominent, less is known about degrowth stances by far-right actors. While the far right is regularly viewed as 'productivist' and tied to fossil fuels, we point to a more complex relationship, taking the German New Right eco-magazine Die Kehre as a case study. Drawing on Bakhtin's concept of chronotope (time–space configuration), we identify two chronotopes, the promethean and the idyllic, with their interaction giving rise to a far-right degrowth stance. The promethean (rejected) signifies environmental destruction and consumerist ways of living. The idyllic (affirmed) posits a reduction in energy throughput, small-scale production/exchange, limits and the building of 'rooted' communities. Our analysis provides original conceptualization and one of the first comprehensive accounts of the far-right politics of degrowth. Thus, we raise awareness of how particularistic and non-universal criticisms of growth and capitalism can partly overlap with better known degrowth positions. [ABSTRACT FROM AUTHOR]

Beginning from Jack London's Martin Eden (1909), a famous American Bildungsroman, this article invokes Bakhtin's chronotope to better understand a contemporary cinematic discourse predicated on the cultural maintenance of the post-Enlightenment masculine subject. Tracing the development of the Bildung genre-as-chronotope across key examples of post-war and contemporary Italian cinema – Fellini's I Vitelloni (1953), Leone's Once Upon a Time in America (1984) – I compare Pietro Marcello's (2019) adaptation of Martin Eden with Paolo Sorrentino's The Hand of God (2021). Where the latter's ending reimagines the conclusion of I Vitelloni, Martin Eden is the filmic equivalent of the modernist novel's deconstruction of the nineteenth-century realist novel's spatio-temporal and epistemological boundaries. And, where Sorrentino's alter-ego protagonist must leave Naples for Rome in order to succeed as a filmmaker, Marcello's intermedial evocation of Naples amplifies the book's paean to socialism while reproducing, in another modality, the failure of London's intended critique of individualism. Finally, in none of these films is the invisibly essential masculinity of the subject superseded by a post-humanist alternative. [ABSTRACT FROM AUTHOR]

A completed research-action project on Climate change adaptation at the regional level (Memphremagog, Québec, Canada) is revisited here, which requires first to briefly recall what is the CCA program, and the project's context, goals, and characteristics. The aim of the paper is to clarify issues of co-construction in dialogue, implementing a way to analytically distinguish phases of co-construction at the level of the research team's effort along the project, by following important dialogue episodes. Stemming out of this dialogue analysis, another contribution of this work is to propose a better picture of the internal relationship between three important components of the normative dimension of such projects: pursued values, processual values, and the prescriptions that were required to actualize these values. [ABSTRACT FROM AUTHOR]

AbstractThis study identified the number of natural environment picturebooks read by young children in Chinese and Korean picturebook libraries and analyzed their content from an ecocritical perspective. The findings indicate that, first, although the number of natural environment picturebooks read by children is higher in Korea than in China, in both countries, these books make up a small proportion of all books read. Second, the covers and endpapers of these picturebooks concisely represent the stories, stimulating children’s curiosity. Additionally, the analysis using the chronotope showed that natural environment picturebooks enabled children to experience changes in time while emotionally empathizing with the protagonists. This study reveals that natural environment picturebooks read by young children in China and Korea provide cognitive and emotional content but lack in actionable content. Therefore, parental, educational, and societal support is necessary to enhance children’s practices in environmental conservation. [ABSTRACT FROM AUTHOR]

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Due to modernisation and Englishisation in Bahrain, noticeably different types of bilingual and bicultural experiences exist, especially among the youth. Recently, the rise of Chinese education policies in the region raises the question of how it might alter the local linguistic market and the forms of capital within it. Applying a scalar-chronotopic analysis to audio-recorded conversations from Bahraini youth as well as textual data from the Confucius Institute in Bahrain’s website and related press releases, this paper lays out key information about the status of languages in the Bahraini linguistic market to discuss how Chinese might alter the current state of affairs. This approach also highlights the indexical differences in how these codes are promoted and perceived. I argue that whereas the sociocultural aspect highlighted in the promotion of Chinese is somewhat absent when it comes to English, it still has neoliberal implications. I conclude with a discussion regarding a more productive integration of ‘culture’ in the promotion and acquisition of language. [ABSTRACT FROM AUTHOR]

Copyright of Cahiers de la Nouvelle: Journal of the Short Story in English is the property of Presses Universitaires de Rennes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 1994, Enric Miralles published From what time is this place?, a brief text where the relationship between space and time is claimed through the form of the Igualada Cemetery Park and different conditions of time are considered. The title is presumably written after the book by Kevin Lynch What time is this place?, where the human sense of time and the relationship between the innate consciousness of time and place and the objective time of the world are addressed. Related to this concept arises the notion of the chronotope—from kronos, time, and topos, place; literally timeplace, defined by Mikhail Bakhtin as the intrinsic connectedness of spatial and temporal relationships assimilated in the artistic form. Approaching Miralles' own words, this text examines the condition of architectural form as a chronotope in the Igualada Cemetery Park and in three of his projects to analyze, firstly, the strategies used and, secondly, the consequences of the connection of space and time in the form and in space and time themselves: the spatialization of time, temporalization of space, and temporalization of time. As a result, some reflections contribute to the contemporary debate on form in architecture as a spatiotemporal discipline: a chronotopic architecture. [ABSTRACT FROM AUTHOR]

Unlike Korean or Vietnamese adoptees who came to the U.S. during the postwar era, Chinese adoptees are mostly abandoned female infants under China's one-child policy from 1980 through 2015. Little work has documented Chinese adoptees' identity (trans)formation across time and space. This study examines how three Chinese adoptees from the U.S. who chose to go to Taiwan to teach English make sense of their Chinese heritages and their lives in and out of Asia. Drawing on the frameworks of positioning and chronotopic identities, this cross-sectional, multiple case study documents the participants' identity (trans)formations through their narratives on their moves across the U.S., China, and Taiwan during different points of their lives. Our adoptee participants' home and work experiences over time represent diverse pathways for their negotiations of various aspects of their identities – linguistic, cultural, Chinese, American, Asian American, and adoptee – in their life trajectories transnationally. Their diverse experiences complicate current understandings of adoptee identities within and across the adoptive home, the "homeland" of their birth places, and beyond. [ABSTRACT FROM AUTHOR]

In the USA, road lines guide both American travel literature and the nation’s history of westward expansion. From western films to road movies, the road has become a specific space-time woven from the mythologies of the Frontier, wilderness, progress, as well as an imaginary of freedom and new beginnings. However, traditional road representations now face technological advances, environmental consciousness, and global crisis. The rise of post-apocalyptic road narratives signals a genre shift, questioning the myth of universal mobility tied to an ideologic conception of liberty. This study delves into this evolution, analyzing pessimistic yet realistic post-apocalyptic road novels and films like Cormac McCarthy’s The Road, John Hillcoat’s adaptation, Dave Eggers’s Heroes of the Frontier, and Casey Affleck’s Light of my Life. Drawing from Bakhtin’s chronotope theory and the transmedial nature of the road narrative, it investigates how the road operates as a space-time for individual travel tales and the American national narrative, undergoing shifts in mobility, history, and narration. The post-apocalyptic backdrop redefines family ethics within the road narrative, envisioning the road as a space-time for transmitting stories and collective memories.

Реферируемая статья представляет собой пример лексико-семантической интерпретации русскоязычного и англоязычного поэтических текстов с орфическим лейтмотивом в рамках хронотопа порога. Исследование проводится на материале поэтических текстов авторства А. Тарковского и Т. Гарди. На основании совокупности методов анализа научной литературы по данной проблематике, направленной выборки, компонентного, лингвостилистического, лексико-семантического и сравнительно-сопоставительного анализов, качественной и формальной интерпретации результатов разработан алгоритм исследования лексических единиц с множественными контекстуальными семами, приобретаемые в дискурсивном контексте. Анализируются способы создания образности сюжетно-семантического поля орфизма в поэтических текстах при помощи лексических единиц с семами пространства и времени, которые являются как прямыми, так и непрямыми номинантами хронотопа порога. Определено, что орфический лейтмотив в рамках хронотопа порога представляет собой языковую форму выражения саморефлексии. В результате составления сравнительно-сопоставительной лингвокультурологической характеристики выявлены случаи как совпадения, так и несовпадения лексических единиц полисемантического комплекса орфизма с координационными точками саморефлексии в дискурсивном контексте хронотопа порога. Применяемые методы, алгоритмы, результаты и выводы работы могут послужить базисом для изучения функционально-стилистических особенностей поэтических текстов смежной тематики.

Stephen King’s novel Revival (2014) takes after Robertson Davies’s novel Fifth Business (1975), the first book of the Deptford trilogy, although the name of the Canadian writer is significantly missing from the list of King’s acknowledgements. The paper is focused on the comparative analysis of the two novels, the starting point being the category of “fi fth business” borrowed by S. King from R. Davis. A comparative analysis of the topos of a small town in the texts of both authors is undertaken to show that for both Davis and King the category of the “fi fth business” acquires a structure-generating function: the foregrounding of a walk-on, a “little man” as a semantic center correlates with the main topos of both novels. It is concluded that such sociological features of small-town life as cohesion of the community life, empathy towards neighbors, relative eventlessness and scarcity of social dynamics (according to R. Wuthnow) influence the plotline, temporal structure, narrative strategies and character interactions. Besides, the topos of a small town induces specific modes of psychological analysis: Stephen King explores town folk’s behavior in critical situations, while Robertson Davies traces the process of individuation of his personages. Small-town life as the central theme also leads to a remarkable synthesis of religious pursuits and the intermediary quality as the environment in which they are actualized

The article is devoted to the little-known literary work of the American cartoonist Jay Norwood Darling. The current study was conducted on the travelogues “Ding Goes to Russia” (1932) and “The Cruise of the Bouncing Betsy. A Trailer Travelogue” (1937). This article aims to reveal and contextualize the features of J.N. Darling’s travel texts as peripheral genres. The main objective of this work is to analyze the deep structures of the travelogues chronotope, based on which the hypothesis will be put forward. Its essence is that the intensity of the crisis time experience in different spaces and through these spaces modifies the involved genre clichés, giving rise to a tragic (for Soviet space) and optimistic (for American space) premonition. The research methodology is based on the study of the interaction between the centre and periphery of the literary system, in particular, the concept of “semiosphere” formulated by Yu. Lotman. Genre analysis includes comparative and contextual methods of studying texts. The cultural-historical method deepens the understanding of the context of Darling’s literary work. Particularly, it is used to discover the historical and social factors that impact the peculiarities of others and one’s own world perception and image reconstruction. Genre analysis of travelogues with various graphic components, including caricatures, involves an intermedia method of studying the semantic connections between visual and verbal in travelogues. The examination of Darling’s travelogues “Ding Goes to Russia” and “The Cruise of the Bouncing Betsy. A Trailer Travelogue”, which inherited different genre traditions, revealed their conceptual and poetic affinities. In both texts, the author investigates the common issues of civilization and its advancement, as well as the significance of technological progress for a human being. The features of the unmanifested future or hidden phenomena of the present are felt more strongly at a distance from the centre, at the intersection of transit paths. Geography in these travels is perceived through anthropological optics, implemented, among other things, through the concepts of the mutual influence of society and space in an unstable world. The experience of alienation is constructed through images of places displayed identically in both travelogues. In Darling’s travelogues, places outside of symbolic meaning come to the fore of the spatio-temporal structure. According to the concept of M. Auger, their features can be attributed to non-places. The key features of the chronotope of both travelogues are the peripheralization of space, the transformation of places into space, and the related process, the representation of non-places. The caricaturists’ texts exhibit genre peripherality through the dual nature of their poetic codes. Behind the secondary nature of the genre constructions of both texts, one cannot help but see individual searches reflected in the unique role and methods of spatial metaphors and imaginary topoi explication. Their semantic and visual density force us to recall and re-estimate the factual writing of the cartoonist in the context of future genre development.

In the context of the predominance of polystylistics as a method of creating a modern Kazakh translingual novel, the research into new ways of realizing the author’s intention is extremely relevant. This study addresses the problem of chronotope in D. Nakipov’s novel “The Circle of Ash,” as well as the goal pursued by the author when choosing a specific representation of the space-time continuum in the work. A detailed analysis and a comparison of two layers of the narrative was made: the existence of the Samion tribe and the existence of the Onosam civilization. With the help of consecutive comparisons of the two worlds, not only the difference between the two cultures is emphasized, but also the points of their contact. The position is substantiated that two different worlds are a single chronotope of the novel. The study reveals the intention of the work which is that D. Nakipov demonstrates what kind of decadence the rejection of naturalness, the naturalness of being, can hypothetically lead to, what the desire to enclose living life within the framework of industrialization can lead to, how detrimental the impact of isolation from roots and the past can be. According to Nakipov, not a single scrupulously verified and refined convention cannot generate freedom and, by definition, cannot be as fruitful as wild but bright primitive chaos. In addition, the contrast between the Samion tribe and the Onosam civilization serves to express an idea common to Kazakh Russian-speaking writers - the idea of the absolute connection of all things between times and spaces. The article also records the peculiarity of the formation of objectification of the chronotope in the postmodern novel with the help of artistic detail. Even though the novel “The Circle of Ash” cannot be unambiguously attributed to postmodernism, it is still impossible not to say that the features of this literary movement are present in the novel. The objectification of the chronotope in the novel is the Kazakh archetype of the circle, which emphasizes the idea of the Absolute expressed in the novel.

This study draws from the notion of chronotope to explore how time and space play out in the formation of Chinese international doctoral students' perceptions of publishing. It is contextualised in a New Zealand research-intensive university, using data generated from four participants through online qualitative surveys and one-on-one semi-structured interviews. The findings show that the students perceive doctoral publishing as simultaneously, sometimes contradictorily, a bonus, a necessity and disciplinary engagement in the time–space contexts of doctoral study, academic career and disciplinary community. This study also reveals a contextual and cultural formation of perceptions, which involves constant and dynamic interplay among various normative, cultural and ideological forces in international, national, institutional and personal spheres that are manifested in different material and/or discursive time–space contexts. It concludes that supervisors and students should open up to uncertainties that breed the possibilities for not only misunderstandings but also deep mutual understandings. [ABSTRACT FROM AUTHOR]

Policing scholars have shown that logics of police governance that appear mutually exclusive can coexist in the same space and time. Within police institutions, we can find more military-like mindsets alongside democratic rationalities. We here present a novel theoretical perspective for understanding such coexistence. Instead of attempting to identify police rationalities by reference to organizational/structural factors such as subcultures, training, or firearms and other equipment, we show that contradictory logics of policing can coexist within the same force by differentiating policing's targets by space, temporality, and identity. To do so, we use the idea of "chronotope" to identify and understand how police officers decide between conflicting rationalities of policing. [ABSTRACT FROM AUTHOR]

The media discourse on Russia's war in Ukraine heavily focuses on geopolitical and military explanations of this conflict, with Ukraine often serving as a metaphor for preserving European values. However, a discussion of what these values mean and how 'Europeanness' is experienced from the perspectives of everyday life on the war-torn territories is rare. This article addresses these questions through a reading of the Wartime Diary which Yevgenia Belorusets, a Ukrainian photographer and writer, started keeping on 24 February 2022. We focus on the private/public form of this diary which, while staging the author's intimate dialogue with herself, was published in 'foreign' languages (German and English), and incorporates both personal and other people's testimonies. Drawing on the diary and its remediations as installations, we suggest that these works create a 'chronotope of immediacy' by mediating the experiences of 'ordinary' people. As such, they do not only enable readers/viewers from outside of Ukraine to follow the daily rhythms of life during war but also implicate each individual (and particularly each European, given the place of the publications and exhibitions) into the events. Thus producing 'implicated publics', these works can help to rethink 'Europeanness' in the context of the war. [ABSTRACT FROM AUTHOR]

This article proposes a methodology to identify rhetorical energies that form within the diegetic timeline of movies and to translate these to creative sculpting of spacetime designs. In turn, the narrative manipulation of rhetorical spacetime correlates with that of the audience's emotional states. I achieved this by indexing fictional spacetime with movie barcodes to create a visual compression of sequential film frames into one solid image. I also discuss how patterns of spatial and temporal arrangement within the selected film trailer occurs. I utilise the short form movie trailer The Monster (2020) as my case study as it is a work that I co-directed. Essentially, I propose a method to show how temporal designs of a fictional dimension may be sculpted and intensified. For comparative purposes, I discuss a related study on Alejandro G. Iñárritu’s The Revenant (2015). I conclude that the spacetime relationships of the timeline exhibit a propensity to result in dramaturgic tension patterns. [ABSTRACT FROM AUTHOR]

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The article studies the specifics of time and space in Olena Krasnoselska's novel SOLpik through the light of artistic representation of the possibilities of their AI (artificial intelligence) modeling. The article proves that in terms of modern advancements in science and technology, the methods of modeling time and space by AI depicted in the novel (their 3D printing with the help of artificial intelligence) seem to be theoretically justified and predictable. The authors of the present paper pay special attention to the analysis of the writer's philosophical reflections on the essence of time and space, as well as the consequences of active human interaction with artificial intelligence. It is noted that the image of the future presented by Olena Krasnoselska, where artificial intelligence can get out of control and begin modeling the space-time continuum, creating virtual reality, seems quite believable in the context of scientific and technological achievements of the 21st century. This story reflects the ideas of modern science and the attitude towards its attainments. The article concludes that all of the above-mentioned facts give grounds for identifying the piece by the Ukrainian writer as a 'prophecy novel'. Also, it outlines the perspectives of studies related to the analysis of the chronotope of 'science-fictional AI' in view of the achievements of modern scientific and technological progress. [ABSTRACT FROM AUTHOR]

In this article, we examine the imagining of homeland as one of the discursive practices of rearticulating belonging within new state borders. The study focuses on an under-researched diasporic group of the Dungan community in Kazakhstan and examines how the diaspora subjects make sense of shifting borders and legitimize their presence within an increasingly homogenizing nation-state. Specifically, our interrogation focuses on spatiotemporal frames for re-imagining the notion of homeland and belonging in the context of shifting borders and changing conditions of settlement. We show how the Dungan negotiate their social positioning by re-orienting themselves to their ancestral home and their current place by discursively constructing double loss – permanent dispersal from China, their ancestral homeland, and displacement from the home and ideal life they managed to build in the Soviet Union. This spatiotemporal perspective allows us to see that the notion of homeland, a defining feature of diaspora and often viewed as naturalized and fixed, is a fluid construct, and one which can be rooted in time just as much as in space. The study contributes to understanding of processes of diasporic imagination in response to sociopolitical changes, and shows us that feelings of displacement can arise without physical dispersal, that temporality is as important in the processes of constructing diasporas as spatial movement. [ABSTRACT FROM AUTHOR]

This paper translates the U.S. environment in terms of chronotope, a literary theory introduced by Mikhail Bakhtin, to literary criticism by studying Philip Roth's novel The Human Stain (2000). It discusses how spatial-temporal variants of American society intervene in the development of Roth's characters, who mainly come from ethnic minorities. To do so, the double consciousness of characters is studied as a polyphonic reaction to the tensions emerging from social norms and meta-linguistic factors of American society. Examining the behavior of Roth's characters in different chronotopic environments furnishes the context to explain the dialog existing between environment and people. [ABSTRACT FROM AUTHOR]

Over the last few years, Norway's lower secondary education has increasingly integrated one device for each student, reflecting broader technological trends in the Western world. To plan for learning and assessment in one-to-one classrooms, this article advocates for an ecological approach by elaborating on the term "educational chronotope", building on previous theoretical understanding of the term. Such an approach to teaching, learning, and assessment contrasts previous frameworks that emphasize teachers' digital competence and technology's transformative role in classrooms, like TPACK and SAMR. Drawing on empirical data from two extensive research projects, this article proposes a didactical model with six choices teachers might consider in orchestrating teaching, learning and assessment in the one-to-one digital classroom environment. The six decisions that teachers must consider are the (1) aim and task, (2) activities and (3) resources used. In addition, they must consider which (4) semiotic technologies and (5) modes students can use when working on the assignments to meet the (6) assessment criteria. The framework has significant implications for enhancing digital pedagogy and fostering student digital agency by actively involving students in shaping their educational chronotope. [ABSTRACT FROM AUTHOR]

Copyright of Human Sciences Journal / Revue des Sciences Humaines is the property of Universite des Freres Mentouri Constantine and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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. [ABSTRACT FROM AUTHOR]

As that which troubles simplistic binaries, ruins provide an entry point for scholars to conceptualize time, space, and identity as multiple, fragmented, and mutable. This article contributes to these studies by interrogating Australian settler-colonial time-space narratives (chronotopes) of White dominance through engagement with counter-narratives of mutable materialities and identities. Through ethnography of a commemorative event in a rural Australian town, I show how peoples of mixed Aboriginal and Asian descent negotiated racialized ruins to reassert narrative agency. I argue narratives of identity-when re- remembered through spatial understandings of multiple community membership, re-lived through embodied experiences, and re-collected through affective engagement with ruins-create a mutable space to disrupt settler-colonial chronotopes, revealing narratives of hybrid, polyethnic, and poly racial belongings in Australia. [ABSTRACT FROM AUTHOR]

This article offers a close reading of Ubisoft's Far Cry 5 (FC5) (2018) in the context of apocalyptic rhetorics and evangelical Christian nationalism during the Trump Era. Building upon my previous work with video game chronotopes (2021) and Sören Schoppmeier's analysis of the retrotopic, 'nostalgia time' in the game (2022), I analyse the doubled temporality of nostalgia time and apocalyptic time as deployed spatially in the game in combination with the game's wanton use of 'liberty porn': undisciplined appeals to liberty and freedom through narrative, iconography and cutscene to instil respect and favour for the largely imagined plights of the right-wing inhabitants of the game's fictional Hope County. Drawing heavily on examples of right-wing violence, attacks on civil rights and Christian fundamentalism during the Trump Era, this article draws concerning parallels between FC5's rhetorical achievement and Trump's embrace of white supremacist narratives – like 'replacement theory' – and militia groups, fashioning them as 'good people', a rhetoric similarly deployed throughout the game. Ultimately, this article argues for more corporate responsibility among game studios when it comes to deploying right-wing narratives and a bolder refutation of such reactionary games by game studies scholars, especially when parodic value is limited or largely absent. [ABSTRACT FROM AUTHOR]