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This study will explore the “light” in Kurtz’s last words from the dialogic aspect and the theory of chronotope by Bakhtin. However, if we look at the novella from a dialogic perspective across space and time, the novella can open a “gate of light” of confessional quality into the dark period of the imperial enlightenment-era. At the end of his life, his last words are “The horror! The horror!” that are usually explained as the symbol of the “heart of darkness” of the Belgian Congo in terms of imperialism that brings violence and brutality. In this novella, the character Kurtz’s experiences shed light on the nature of colonialism-he is inspired by the ideology of enlightenment and goes to Congo, and soon he becomes crazy about the ivory trade. Print.Joseph Conrad’s Heart of Darkness is regarded as one of the greatest novellas, which reveal the darkness of humanity in colonial activities. “The Chronotope of Humanness: Bakhtin and Dostoevsky.” Bakhtin’s Theory of Literary Chronotpe: Reflections, Applications, Perspectives.
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“The Chronotopic Imagination in Literature and Film: Bakhtin, Bergson and Deleuze on Forms of Time.” Bakhtin’s Theory of Literary Chronotpe: Reflections, Applications, Perspectives. The Sense of an Ending: Studies in the Theory of Fiction.
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“Quarrelling with Brecht: Understanding Bond’s Post-structuralist Political Aesthetic.” Studies in Theatre and Performance 28.3 (2008): 237–251. Drama and Desire: Edward Bond and Jacques Lacan. “On the Actuarial gaze: From 9/11 to abu Gharib.” Cultural Studies 19.2 (2005): 203–226. He also embraces Bakhtin as a whole, employing all his major concepts, dialogism, polyphony, carnival and the chronotope, as well as some of the lesser. Minneapolis: University of Minnesota Press, 2006. Search in Google ScholarĮttinger, Bracha. “Dehumanized or Inhuman: Doubles in Edward Bond.” South Central Review 3.2 (1986): 78–89. Toronto: University of Toronto Press, 2013. The Politics and Poetics of Contemporary English Tragedy. Minneapolis: University of Minnesota Press, 1984. Remnants of Auschwitz: The Witness and the Archive. The plays bring home what Bakhtin calls “the state of non-alibi” in “the event of being”, the realization of which could be the only impulse towards assuming ethical responsibility ( Towards 70).Īgamben, Georgio. for Bakhtin, is performed in the context of a specific and unique time (chronos) and place (topos), which he calls its chronotope. Rather, the paper argues, Bondian lack of ‘the sense of an ending’ 2 dovetails with Bakhtin’s chronotopic vision to underline the importance of Open Time and human agency. The Chronotope, for Bakhtin, is the intrinsic connectedness of temporal and spatial relationships that are artistically expressed in literature. Thus Bond’s dramaturgy manages to break out of the “folk-mythological time” chronotope to which Bakhtin relegates Drama ( Dialogic 104). Bakhtin was somewhat indebted to Einstein and some other scientific thinkers for developing his idea of the Chronotope. The plays shift meaning from the characters that are tethered to specific times and places to events that are untethered to linear time and identifiable topos. The notion chronotope, created by the great Mikhail Bakhtin, is one of the most im. These plays operate by way of premise more than plot, staging events in World History ranging between the Nazi Camps, the Nuclear Holocaust down to the Abu-Gharib atrocities or the shock-and-awe techniques in the War-on-Terror to argue for their connections over times. Yet, the ominous Auschwitz modality is the chronotopic backdrop of all these five plays. 1 None of these five plays is a ‘history play’ in the technical sense of the term. This paper tries to explore the chronotopic implications of Edward Bond’s Paris Pentad Plays including Coffee (1996), The Crime of the Twenty-first Century (2001), Born (2006), People (2006) and Innocence (2009) in general and the recently staged play People in particular.