A Prisoner's Conviction: Time, Space, and Morality in W.F. Hermans's The
A Prisoner’s Conviction: Time, Space, and Morality in W.F. Hermans’s The Darkroom of Damocles and Harry Mulisch’s The Assault Marc VAN ZOGGEL Huygens Instituut voor Nederlandse Geschiedenis Introduction: Time, Space, and the Prison Narrative In his landmark essay “Forms of Time and of the Chronotope in the Novel” (1938-1939), Russian literary critic Mikhail Bakhtin coined the concept of the ‘chronotope’ (literally, ‘time space’) in order to capture “the intrinsic connectedness of temporal and spatial relationships that are artistically expressed in literature” (Bakhtin 84). The chronotope, in other words, serves to describe the transformation of the physical notions of time and space into the artistic, i.e. literary categories of form and substance: In the literary artistic chronotope, spatial and temporal indicators are fused into one carefully thought-out, concrete whole. Time, as it were, thickens, takes on flesh, becomes artistically visible; likewise, space becomes charged and responsive to the movements of time, plot and history. This intersection of axes and fusion of indicators characterizes the artistic chronotope. (ibid.) Bakhtin envisages the chronotope as a central concept in what he calls the discipline of ‘historical poetics’. For example, in his discussion of ancient Greek romances – semi- historical adventure stories – Bakhtin shows how prison scenes are instrumental in the deceleration and freezing of plot movement: “Captivity and prison presume guarding and isolating the hero in a definite spot in space, impeding his subsequent spatial movement toward his goal, that is, his subsequent pursuits and searches and so forth” (Bakhtin 99; italics in original). The prison thus plays a vital role in the semi-fictional biographies presented in these stories.
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