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WRAP Theses Luo 2017.Pdf A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/104240 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications A Bakhtinian Reading of Fantasy Chronotopes in Modern Children’s Fantasy Literature by Zhiwen Luo A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Education (Children’s Literature) University of Warwick, Centre for Education Studies September 2017 Contents Acknowledgements ................................................................................................... V Declaration .............................................................................................................. VI Abstract .................................................................................................................. VII Chapter One ............................................................................................................... 1 Introduction ............................................................................................................... 1 1.1 Literature Review ........................................................................................... 2 1.1.1 Definitions and Interpretations of Fantasy .......................................... 5 1.1.2 The Focused Scope of This Study ..................................................... 18 1.1.3 Critical Studies of Time and Space in Children’s Fantasy Literature23 1.2 Theoretical/Methodological Framework ...................................................... 37 1.3 The Aim of This Study and Research Questions.......................................... 51 1.4 The Selection of Primary Texts .................................................................... 56 In Summary ........................................................................................................ 60 Chapter Two ............................................................................................................. 62 The Epic Chronotope .............................................................................................. 62 2.1 Introduction .................................................................................................. 62 2.2 The Epic Chronotope Embodied in the Focused Fantasy Works ................. 68 2.2.1 The Epic Chronotope Embodied in The Chronicles of Narnia ......... 68 2.2.2 The Epic Chronotope Embodied in The Dark is Rising .................... 80 2.2.3 The Epic Chronotope Embodied in Elidor ........................................ 90 2.3 The Epic Chronotope in Dialogue ................................................................ 94 2.3.1 The Symbolic Dialogue on the Level of Awareness ......................... 94 II 2.3.2 The Provincial Village Infiltrated by the Epic Chronotope............... 98 2.3.3 The “Novelisation” of the Epic Chronotope ................................... 105 In Summary ...................................................................................................... 117 Chapter Three ........................................................................................................ 118 The “Fantastic” Time-travel Chronotope ........................................................... 118 3.1 Introduction ................................................................................................ 118 3.2 Restoring the Connectedness of Time and Space ...................................... 127 3.3 Time-travel Chronotope in the “Fantastic Uncanny” Mode ...................... 130 3.3.1 The Idyllic Chronotope as the Setting for Time Travel ................... 130 3.3.2 The “Unlocalised” Idyllic Chronotope as a Literary Illusion ......... 132 3.3.3 Daydreaming Sheltered by the “Oneiric House” ............................ 136 3.4 Time-travel Chronotope in the “Fantastic Marvellous” Mode ................... 139 3.4.1 Thirdspace Accommodating Logically Paradoxical Timelines ....... 142 3.4.2 Thirdspace: The Eternal and Changing Midnight Garden .............. 144 3.5 The Thirding/Othering of the Construction of Childhood ......................... 148 3.5.1 The Binarism in Re-presenting the Past .......................................... 149 3.5.2 Existential Temporality: The Unity of Three Ekstases ................... 152 3.5.3 Thirding/Othering in the Construction of Childhood ...................... 156 In Summary ...................................................................................................... 161 Chapter Four .......................................................................................................... 163 The Heterotopian Chronotope.............................................................................. 163 4.1 Introduction ................................................................................................ 163 4.2 The Ever-expanding Multiverse Projected in His Dark Materials ............ 165 4.2.1 The Polyvalent Ontological Structure ............................................. 168 III 4.2.2 “Phase Space” Following the Forking-paths Principle ................... 172 4.2.3 The Moderate Heterotopian Chronotope ........................................ 175 4.3 The Carnivalesque Heterotopias Projected in The Graveyard Book .......... 178 4.3.1 The General Image of Graveyard as a Timeless Heterotopia ......... 179 4.3.2 The Fantasy Graveyard Incarnating the “Carnival Laughter” ........ 181 4.3.3 The Destructive and Regenerating Carnival Chronotope ............... 187 4.4 The Self-erasing World Projected in The Ocean at the End of the Lane ... 188 4.4.1 The Self-erasing Mode of World Construction ............................... 189 4.4.2 The Self-reflexive Metafictional Frame Narrative .......................... 193 In Summary ...................................................................................................... 198 Conclusion .............................................................................................................. 200 Bibliography ........................................................................................................... 205 IV Acknowledgements I would like to express my sincere gratitude to my supervisor, Dr. Christine Wilkie- Stibbs, for the patient guidance and insightful advice she has constantly given to me during the past five years. I have been extremely lucky to have such a supervisor who cares so much about my work, and who responds to my questions and queries so promptly. Her kind support and encouragement has not only made the completion of this work possible, but also made me a better learner and a better researcher. In China, we have an ancient saying that “one day as a teacher, a life as a ‘father.’” For me, Christine is a lifetime advisor and friend. Special thanks go to my funding bodies Warwick Graduate School and Centre for Education Studies, University of Warwick for providing the funding which allowed me to undertake this research. As parts of this thesis have been presented at The Child and The Book Conference (2015), University of Aveiro, Portugal, I would like to thank Centre for Education Studies again for making this trip possible. My thanks also go to Dr. Wang Quan for leading me into the palace of English literature and Dr. Li Ying for the PhD inspiration. For Yunxiang Shi, my boyfriend – thanks for your love, support, and understanding throughout this journey, especially during the last year. Thanks for cooking for me, for tolerating my occasional bad temper, and for every little sacrifice you have made for our life. For Mum – I actually know that you just pretended not seeing me read those fantasy stories that were not recommended by my middle school teachers. Thanks for protecting your little daughter’s interest and being open-minded. I could not complete this thesis without your love and care. For Dad – thank you for instilling in me the importance of persistence and hard work since I was young. For my grandparents – thank you for always supporting me to follow my heart and reminding me to appreciate myself. Finally Laowai, my loyal friend – I will always remember those quiet reading nights with you lying beside. Thanks for coming into my life, for growing up together with me, and for sharing my happiness and sorrow. You are always in my heart. V Declaration The material comprising this thesis is my own work and has not been submitted for a degree at any other university. VI Abstract Drawing on Bakhtin’s theory of the literary artistic chronotope and the interdisciplinary spatiotemporal theories of geocriticism, this study identifies three particular modes of the fantasy spatiotemporality presented in modern children’s fantasy works. They are the epic chronotope, the “fantastic” time-travel chronotope and the heterotopian chronotope. Each fantasy chronotope is examined in the specific but interrelated textual contexts of selected children’s fantasy works in relation to the three main research questions: (i) How is the fantasy chronotope embodied and strategically deployed in the focused children’s fantasy works? (ii) What ideas and values are conveyed by its syntagmatic interplay
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