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Pauline Melville’s The Ventriloquist’s Tale is an intricately layered novel in which the myths and folktales of the Amerindians of Guyana, as they are represented in Melville’s novel, are engaged in a dialogue with their reality. This narrative/mythical dialogue results in enactments and re-enactments of the myths and folktales, not only retelling them, but also recycling them, resulting in the Amerindians interpreting their myths and folktales nonmetaphorically. Mikhail Bakhtin’s concept of settings as chronotopes, “timespaces” in which time and space are inseparable from each other and from the theme, is used to define the distinct thematic qualities of the three narrative layers in the novel. I label these three chronotopes unfixed space, the juncture, and the interior. The interior is established as the chronotope in which the enactments and reenactments of myths and folktales primarily take place, re/enactments which add yet another layer to the novel. I argue that the reason the chronotope of the interior is the nexus of these myths and folktales is largely because the Amerindians adhere to a concept of time which is cyclical rather than linear. The enactments and reenactments are then unfolded as intentionally complex and contradictory threads, which are then untangled to show how the myths and folktales are recycled in the novel. This untangling reveals how the threads interconnect, and how they can all be traced back to the narrator, the trickster deity Macunaima, suggesting he is as unbound by temporal and spatial limitations as the narrative layer of myths and folktales from which he has emerged.

Yes / The ‘Polyphonic Organisation’ is an emerging root-metaphor for the multiple voices that constitute an organisation. In this article, we explore the narrative concept of the ‘chronotope’ as a feature of the ‘polyphonic organisation’. The ‘chronotope’, in a general sense, refers to the matrix of time-space-value in organisations. We argue that the chronotope is important because it introduces boundaries between voices within organisations and helps to explain the difficulties in getting to dialogue with voices in different spaces in the ‘Polyphonic Organisation’. More particularly, there are multiple kinds of chronotopes which lead to different kinds of time-spaces matrices within the polyphonic organisation. Our aim is to examine chronotope crossings within polyphonic organisations as part of the work of being heard. This is a theoretical argument drawing significantly from Bakhtin’s work on chronotope. To examine the argument in practice we draw on original fieldwork within the comedy industry. Here we found three kinds of chronotopes: 1) The comedy-offense boundary; 2) The commissioning landscape 3) Platform spaces. We also found that moving within and between these involved a variety of adventures in experience (such as hope and disappointment), which also have their own specific chronotopes. Overall, we argue that the polyphonic organisation is significantly enhanced as an organisational concept through a turn to the role of chronotope. This is because chronotope helpfully describes the barriers and porous boundaries between voices

Yes / In this paper, we draw on the Bakhtinian concept of chronotope to make the theoretical argument that the turn to embodiment can be supplemented through a consideration of connotation in discursive psychology. We use Billig’s conception of linguistic repression as a test-case as to how connotation can supplement discursive analysis, but using our own interview material to do so. From establishing the case that connotation, understood through the lens of chronotope, is potentially of vital interest to discursive psychology, we move to drawing out three implications for this for doing qualitative research differently. First of all, we suggest that researchers need to feel the chronotope of the interview to manage its connotations in vivo. Secondly, we draw attention to the role of the absent other in everyday speech and how this absent other can be analysed differently to a typical discourse analysis - as layering connotations into speech. Finally, we draw attention to the hermeneutic attitude of earnest irony when doing research as a further means of generating as well as managing connotations.

<p>The author discusses three Soviet comedies from the</p><p>1970s: Moskva slezam ne verit (Moscow Does Not Believe</p><p>in Tears, Vladimir Menshov, 1979), Osenniy marafon</p><p>(Autumn Marathon, Georgi Daneliya, 1979), and Ironiya</p><p>Sudby, ili S lyogkim parom (Irony of Fate, Eldar</p><p>Ryazanov, 1975), and how they relate to both</p><p>conventions of romance and conventions of the</p><p>mainstream traditions of the romantic comedy genre.</p><p>The text explores the evolution of the genre and</p><p>accompanying theoretic writings, and relates them to</p><p>the Soviet films, focusing largely on the conventions</p><p>that can be grouped under an idea of the romantic</p><p>chronotope. The discussion includes the conventions of</p><p>chance and fate, of the wrong partner, the happy</p><p>ending, the temporary and carnevalesque nature of</p><p>romance, multiple levels of discourse, and some</p><p>aspects of gender, class and power. In addition, some</p><p>attention is paid to the ways in which the films</p><p>connect to specific genre cycles, such as screwball</p><p>comedy and comedy of remarriage, and to the</p><p>implications that a communist system may have on the</p><p>possibilities of love and romance. The author argues</p><p>that Soviet and Hollywood films share many conventions</p><p>of romance, but for differing reasons.</p>

O presente estudo tem como objetivo analisar a construção do nacionalismo egípcio na obra Trilogia do Cairo, de Nagib Mahfuz, romance em três volumes que recobre o período histórico de maturação do nacionalismo egípcio até o momento que antecedeu o nasserismo, respectivamente de 1917 a 1944. Desse modo, inicialmente são apresentadas as teorias sobre o nacionalismo, no intuito de situar as correntes teóricas que descrevem o desenvolvimento dos conceitos de nação, estado e estado nacional ao longo da história, a saber, a teoria clássica, a modernista, a essencialista e a etno-simbolista. Em seguida, este trabalho apresenta o contexto histórico do nacionalismo egípcio e sua confluência com o nacionalismo árabe. Apesar de a Trilogia do Cairo não abranger o período que se estende do início até a decadência do nacionalismo de expressão nasserista, o presente estudo considera importante mencioná-lo como um todo, no intuito de contextualizar aquilo que o romance já anunciava como premente na sociedade egípcia, a necessidade de autonomia política dentro de um projeto de base nacionalista. A fim de se estabelecer as relações entre autor, obra e instituição, na sequência são discutidos os diversos pareceres críticos do romance, além de sua abordagem enquanto discurso literário e prática discursiva. Desse modo, através da narrativa da inscrição da história no discurso literário, analisado no presente estudo sob o formato de cronotopos, se pretendeu efetivar uma exposição do modo como as personagens fictícias e históricas, que participaram do processo de tentativa de emancipação do Egito, construíram o nacionalismo. / This work intends to analyse the construction of egptian nationalism in Cairo Trilogy, by Nagib Mahfuz, novel composed by tree volumes that recover the period between 1917 and 1944, regarded to the real rising of nacionalism and the previous nasserism age. Initially this study introduces theories about nationalism in order to define the concepts of nation, state and national state, after that, the context of egptian and arabic nationalism is introduced. Although Cairo Trilogy recovers the period before nasserism age, this reference is important to sign the need of political autonomy within an egpitian nationalist project. The following discussion is about linguistics and literary criticism related to the novel, in whish is made the reflexion about literary discourse and discourse practices. Thus, through the narrative inscription of history in literary discourse, analysed in this study by the notion of chronotope, this work intended to make an exhibition about how ficcional and historical characters, who participated the egption freedom process, built the nationalism.

A presente dissertação propõe um estudo do espaço literário no romance A House for Mr. Biswas (1961), do escritor indo-caribenho V. S. Naipaul. Num primeiro momento, pautamos nossa leitura na relação constituída entre o espaço e o sujeito por meio do estudo dos cronotopos, de Bakhtin, verificando a presença de dois principais temas espaciais: o da clausura, sobre como o espaço influi na constituição da subjetividade dos personagens e o de transição, sobre o deslocamento do protagonista, Mr. Biswas, do espaço rural para o urbano, despertando nele um vislumbre de agência. Realizamos uma análise detalhada do jornal e da educação colonial e, em seguida, enfocamos a casa e seus constituintes estruturais, bem como as possessões que o protagonista acumula ao longo de sua vida. Concluímos que A House for Mr. Biswas é um romance metaficcional que utiliza a metáfora da escrita e da construção da casa para representar o processo de sua própria construção. A metaficção se manifesta por meio da paródia do gênero do romance de formação, já incorporado pela literatura inglesa dos séculos XVIII e XIX, resultando na criação de um novo romance que almeja pertencer à tradição literária estabelecida, mas que, ao mesmo tempo, encontra-se em dívida em relação a ela. / This dissertation examines the concept of literary space in the novel A House for Mr. Biswas (1961), by the Indo-Caribbean writer V. S. Naipaul. We have based our reading upon the relationship between space and subject by means of Bakhtins chronotopes, verifying the presence of two major themes: that of closure, related to the way in which space affects the constitution of the subjectivity of the characters, and that of transition, about the displacement of the protagonist, Mr. Biswas, from a rural to an urban space, awakening in him a glimpse of agency. We have conducted a detailed analysis of the newspaper and of colonial education, and then the focus shifts to the house and its structural components, as well as to the possessions which the protagonist accumulates throughout his life. We conclude that A House for Mr. Biswas is a metafictional novel that uses the metaphor of writing and that of the building of the house in order to represent the process of constructing the novel itself. Metafiction is disclosed through the parody of the formation novel, already incorporated by English literature of the 18th and 19th centuries, resulting in the creation of a new novel, which aspires to become part of the established literary tradition, but that is still, at the same time, is indebted to it.

O presente estudo tem como objetivo analisar a construção do nacionalismo egípcio na obra Trilogia do Cairo, de Nagib Mahfuz, romance em três volumes que recobre o período histórico de maturação do nacionalismo egípcio até o momento que antecedeu o nasserismo, respectivamente de 1917 a 1944. Desse modo, inicialmente são apresentadas as teorias sobre o nacionalismo, no intuito de situar as correntes teóricas que descrevem o desenvolvimento dos conceitos de nação, estado e estado nacional ao longo da história, a saber, a teoria clássica, a modernista, a essencialista e a etno-simbolista. Em seguida, este trabalho apresenta o contexto histórico do nacionalismo egípcio e sua confluência com o nacionalismo árabe. Apesar de a Trilogia do Cairo não abranger o período que se estende do início até a decadência do nacionalismo de expressão nasserista, o presente estudo considera importante mencioná-lo como um todo, no intuito de contextualizar aquilo que o romance já anunciava como premente na sociedade egípcia, a necessidade de autonomia política dentro de um projeto de base nacionalista. A fim de se estabelecer as relações entre autor, obra e instituição, na sequência são discutidos os diversos pareceres críticos do romance, além de sua abordagem enquanto discurso literário e prática discursiva. Desse modo, através da narrativa da inscrição da história no discurso literário, analisado no presente estudo sob o formato de cronotopos, se pretendeu efetivar uma exposição do modo como as personagens fictícias e históricas, que participaram do processo de tentativa de emancipação do Egito, construíram o nacionalismo. / This work intends to analyse the construction of egptian nationalism in Cairo Trilogy, by Nagib Mahfuz, novel composed by tree volumes that recover the period between 1917 and 1944, regarded to the real rising of nacionalism and the previous nasserism age. Initially this study introduces theories about nationalism in order to define the concepts of nation, state and national state, after that, the context of egptian and arabic nationalism is introduced. Although Cairo Trilogy recovers the period before nasserism age, this reference is important to sign the need of political autonomy within an egpitian nationalist project. The following discussion is about linguistics and literary criticism related to the novel, in whish is made the reflexion about literary discourse and discourse practices. Thus, through the narrative inscription of history in literary discourse, analysed in this study by the notion of chronotope, this work intended to make an exhibition about how ficcional and historical characters, who participated the egption freedom process, built the nationalism.

No capítulo denominado \"Formas de tempo e de cronotopo no romance (Ensaios de poética histórica)\", de sua obra Questões de Literatura e de Estética (A Teoria do Romance), Mikhail Bakhtin utiliza-se do termo cronotopo para referir-se à indissolubilidade de espaço e de tempo na literatura, uma vez que considera este como a quarta dimensão daquele. O presente trabalho tem como objetivo o exame dos cronotopos no romance Ensaio sobre a Cegueira, de José Saramago, desenvolvido mediante o estudo do manicômio, das ruas, das casas, entre outros. Os cronotopos nesta obra subvertem a relação tradicional entre tempo e espaço, constituindo um mundo invertido em sua totalidade. Por meio dos cronotopos poderemos adentrar o campo da autoconsciência das personagens, o qual revela a ampliação do âmbito de visão delas sobre si mesmas e sobre os outros. Tal ampliação implica o dialogismo e a equiparação das vozes dos protagonistas que empreenderão uma jornada rumo à comunhão e à solidariedade. A autoconsciência desemboca na questão da construção da identidade que descortina a imagem do homem contemporâneo, cindido, em conflito com seu tempo e seu espaço. / In the chapter named \"Formas de tempo e de cronotopo no romance (Ensaios de poética histórica)\", which integrates his Questões de Literatura e de Estética (A Teoria do Romance), Mikhail Bakhtin makes use of the term \"Chronotope\" to refer to the indissolubility of time and space in literature, once he considers the latter as the fourth dimension of the first. The present work aims to investigate the chronotope in Saramago\'s Blindness, by means of the study of some of its chronotopes, such as the asylum, the streets and the houses, among others. In this novel, the chronotopes show the subversion between time and space relation, constituting a world inverted in its wholeness. By means of the chronotopes it will be possible to see the inside of the characters\' selfconsciousness process, which emerge in the narrative and broaden the characters\' visual field about themselves and about the other characters. Such broadening implies the dialogism and characters\' voice equalization (in the sense that each of the characters will be independent, owning their independent voices, which will consequently permit them start a journey towards communion and solidarity. In the novel, the theme of selfconsciousness, however, leads to that of the characters\'s identity building, which is present in the novel\'s plot, and which shows the contemporary individual\'s divided self, in conflict with his time and space.

A presente dissertação propõe um estudo do espaço literário no romance A House for Mr. Biswas (1961), do escritor indo-caribenho V. S. Naipaul. Num primeiro momento, pautamos nossa leitura na relação constituída entre o espaço e o sujeito por meio do estudo dos cronotopos, de Bakhtin, verificando a presença de dois principais temas espaciais: o da clausura, sobre como o espaço influi na constituição da subjetividade dos personagens e o de transição, sobre o deslocamento do protagonista, Mr. Biswas, do espaço rural para o urbano, despertando nele um vislumbre de agência. Realizamos uma análise detalhada do jornal e da educação colonial e, em seguida, enfocamos a casa e seus constituintes estruturais, bem como as possessões que o protagonista acumula ao longo de sua vida. Concluímos que A House for Mr. Biswas é um romance metaficcional que utiliza a metáfora da escrita e da construção da casa para representar o processo de sua própria construção. A metaficção se manifesta por meio da paródia do gênero do romance de formação, já incorporado pela literatura inglesa dos séculos XVIII e XIX, resultando na criação de um novo romance que almeja pertencer à tradição literária estabelecida, mas que, ao mesmo tempo, encontra-se em dívida em relação a ela. / This dissertation examines the concept of literary space in the novel A House for Mr. Biswas (1961), by the Indo-Caribbean writer V. S. Naipaul. We have based our reading upon the relationship between space and subject by means of Bakhtins chronotopes, verifying the presence of two major themes: that of closure, related to the way in which space affects the constitution of the subjectivity of the characters, and that of transition, about the displacement of the protagonist, Mr. Biswas, from a rural to an urban space, awakening in him a glimpse of agency. We have conducted a detailed analysis of the newspaper and of colonial education, and then the focus shifts to the house and its structural components, as well as to the possessions which the protagonist accumulates throughout his life. We conclude that A House for Mr. Biswas is a metafictional novel that uses the metaphor of writing and that of the building of the house in order to represent the process of constructing the novel itself. Metafiction is disclosed through the parody of the formation novel, already incorporated by English literature of the 18th and 19th centuries, resulting in the creation of a new novel, which aspires to become part of the established literary tradition, but that is still, at the same time, is indebted to it.