Jack Kerouac's On the Road is both a travel story and a cultural event. Although road narratives have been critically examined from numerous angles, few studies have addressed how time and space are arranged in the written representation of lives encountered on the road. The individuals who populate street corners are an integral part of American culture and can offer a colorful snapshot of local lives to those traveling through. This article discusses examples of street corners in On the Road to question how this “folded” time and space can be used to explain the folding together of lives in the writing of a journey. In so doing the article draws on Bakhtin's theory of the chronotope and Deleuze's description of the fold to help explain Kerouac's arrangements of time and space as the “chronotope of the street corner.”
Kerouac and the Temporal-Spatial Construction of Street Corner as Place in On the Road
This article discusses the contribution of the chronotope as an analytic category in studies of Christian conversion, applying it to postsocialist religious changes in the Russian Arctic. Looking through basic categories of human experience—space and time—the article focuses on the comparative analysis of the two missionary movements working in northwestern Siberia—neo-Pentecostalism and Baptism. The article examines postsocialist Evangelical missionary movement among the Nenets people who live in the Polar Ural tundra. The Nenets tried out multiple faiths on the emerging religious spectrum, choosing in the end fundamentalist Baptism. The article elaborates on possible conditions that made Christian fundamentalism appealing in this part of the Arctic. I suggest that Nenets historical experience as a colonized periphery of the Russian state, particularly the Soviet experiments with space and time, have bridged Nenets social expectations and a radical form of Evangelical Christianity.
This article explores representations emergent in discourse about service learning in an effort to understand what gives the notion special value. A job presentation of a candidate for dean of faculty, articles published in a college newspaper, descriptions posted on a college website and commentary offered in an interview with a student demonstrate that representations of service learning are salient in multiple contexts and presuppose the potential to transform the lives of everyone involved. This article identifies one of the discursive constructs making transformation possible – even inevitable – in reflections on service learning, and uses the construct to explore how it shapes a single instance of service learning's failure.
Richard Allen and Ira Bhaskar
This article describes how Kamal Amrohi's Pakeezah distils the idioms of the historical courtesan film, poised as they are between the glorification of courtesan culture and lamenting the debased status of the courtesan; between a nostalgic yearning for the feudal world of the kotha and a utopian desire to escape from it. The article argues that Pakeezah self-consciously defines the particular “chronotope”, or space-time, of the historical courtesan genre by showing that nothing less than a transformation of the idioms of that genre is required to liberate the courtesan from her claustrophobic milieu—whose underlying state is one of enervation and death—into the open space and lived time of modernity.
Policy, temporality, and public health in South Africa
South Africa’s post-apartheid era has been marked by the continuation of racialized socioeconomic inequality, a social situation produced by earlier periods of settlement, colonization, and apartheid. While the ruling African National Congress has pursued a transformative political agenda, it has done so within the confines of neoliberal macroeconomic policy, including a period of fiscal austerity, which has had limited impact on poverty and inequality. Here, I explore how policy principles associated with austerity travel across time, space, and the levels of the state in South Africa, eventually manifesting in a public health policy that produced cuts to public health services. In assessing these sociopolitical dynamics, I utilize policy process as a chronotope to unify diverse experiences of temporality relative to austerity-inspired public health policy.
In this article, I analyze Park Chan-wook’s The Handmaiden (Ah-gassi, 2016) by addressing its puzzle narrative and complex interactive dynamics as embodied and affective categories. In particular, I employ Mikhail Bakhtin’s theory of the chronotope together with Giuliana Bruno’s work on media theory and Steffen Hven’s notion of the embodied fabula to show how the film, in all its aesthetic complexity, enacts a creative and transformative experience based on the continuous subversion of the power dynamics I describe. Furthermore, I demonstrate how this semantic and experiential reconstruction couples viewers’ alignment with the two main characters in their rebellion against patriarchal power and obsessive male fantasies. Ultimately, then, in this article I aim to connect the experiential and affective engagement of the film with a critical reading of power dynamics as ecologically situated structures to be challenged and revolutionized through a creative process of becoming.