A bit more from Mikhail Bakhtin this week. Another one of his essays concentrates on chronotopes, which is a fancy way for saying ‘the depiction of temporal and spatial progression on the page’. Different genres have different approaches to the use of time, and Bakhtin seems to consider this an important identifying feature of those genres.
In literature the primary category in the chronotope is time. The chronotope as a formally constitutive category determines to a significant degree the image of man in literature as well. The image of man is always intrinsically chronotopic. ~ Forms of Time and of the Chronotope in the Novel, Bakhtin
Yeah, it’s all like that. Aren’t you glad I’m condensing this stuff down for you?
Not just a cartoon, but also a technical term. Adventure-time was originally a feature of classical epics, but it’s not uncommon in lesser SFF works. Adventure-time denotes the passage of time in which adventure happens. Sounds obvious when you say it like that, but there’s a little more to it.
In the classic epic trope – such as Heliodorus’ Aethopica – the story starts with boy meeting girl. It ends with boy marrying girl (or finding her again, or variations on that theme). In between, boy loses girl and has to go on various adventures to get back to her, or boy and girl are persecuted and go on adventures together. If those adventures happened in real time, when they finally got to the wedding they’d be in their late 40s. Slightly less ‘young love conquers all’ and rather more ‘staggering to the altar with most of our limbs still attached’.
So adventure-time is a linear progression of time within a bubble, during which adventures happen. When those adventures stop happening and the heroes return to the ‘normal’ world, less time has passed to allow them to still be the young, beautiful people required for the photo finish. Which is an indicator that there’s been basically zero character development.
Adventure-time leaves no traces – neither in the world nor in human beings. No changes of any consequence occur, internal or external, as a result of the events recounted in the novel. ~ Forms of Time and of the Chronotope in the Novel, Bakhtin
You can use adventure-time in modern fiction, but only if you explicitly acknowledge it’s a manipulation of time or biology. Otherwise your readers will consider it to be lazy writing.
This shares some similarities with adventure-time, in that the events undergone by the hero do so in their own little bubble outside the passage of ‘real’ time. The difference is that, in this version, the hero does change. It really started with medieval courtly romances like de Montalvo’s Amadis de Gaula, where the knight undergoes tests or trials and returns to court a better man. This has since developed into a standard step in the heroic journey, which sometimes happens in adventure-time and sometimes happens in real time.
The issue of space is important here, too. During the tests and trials of romance-time, the hero is removed from society – they are alone, tested as an individual. In adventure-time, other people move in and out of the bubble. In romance-time, there is a bubble of space as well which is largely impenetrable. As the style of romance-time developed, so did things like inner monologue and character introspection.
Characteristically it is not private life that is subjected to and interpreted in the light of social and political events, but rather social and political events gain meaning in the novel only thanks to their connection with private life. ~ Forms of Time and of the Chronotope in the Novel, Bakhtin
Also called folk-mythological time. Basically, the world splits into folklore/myth and history. Myth happens Before, and is generally unquantifiable. If you can stick a date on it, it’s history. Importantly, mythological time generally Before but Here. The events of mythological time happened on home ground rather than abroad but, because it’s Before, that home ground is slightly alien – without being foreign. Mythological time is a way of invoking that very specific ‘familiar but different’ feeling that using Welsh as a mystical language also achieves.
Time and space are constant and linear everywhere. Nothing happens in isolation. Events are sequential. It’s, like… normal. And you know what happens when nothing happens in isolation? People change the world, and the world changes people. So the idea of metamorphosis or transformation is important in everyday-time.
This transformation doesn’t happen smoothly, though. It tends to build up and take place in lumps:
…that unfolds not so much in a straight line as spasmodically, a line with “knots” in it, one that therefore constitutes a distinctive type of temporal sequence. ~ Forms of Time and of the Chronotope in the Novel, Bakhtin
Which is how you get things like distinct ages or epochs, specific stages in the heroic journey, and so on. It also means that you don’t get a story unfolding in what Bakhtin calls ‘biographical time’ – it focuses on the important or exceptional moments. These moments happen in ‘real time’ but we jump between them. This is where David Herman’s theory of attentional prominence comes into play – by choosing which moments to show on paper, the writer tells the reader which moments are important.
All of these labels are, like so much in the lit-crit world, largely unimportant except to serve as flagpoles for the various techniques available. You may well be doing much of this stuff instinctively. But if you know precisely what technique you’re using, and the impact that technique has, you can probably wield it with more precision. As Dolly Parton (sort of) said: