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Chronotopology and the scientific-ae...

Bartlett, Mark.

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Chronotopology and the scientific-aesthetic in philosophy, literature and art.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Chronotopology and the scientific-aesthetic in philosophy, literature and art./
作者:	Bartlett, Mark.
面頁冊數:	327 p.
附註:	Source: Dissertation Abstracts International, Volume: 66-08, Section: A, page: 2951.
Contained By:	Dissertation Abstracts International66-08A.
標題:	Philosophy. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3185873
ISBN:	9780542279690

Chronotopology and the scientific-aesthetic in philosophy, literature and art.
Bartlett, Mark.

Chronotopology and the scientific-aesthetic in philosophy, literature and art. - 327 p.

Source: Dissertation Abstracts International, Volume: 66-08, Section: A, page: 2951.

Thesis (Ph.D.)--University of California, Santa Cruz, 2005.

Chronotopology and the Scientific Aesthetic in Philosophy, Literature and Art examines the epistemological discourse formation designated by the hyphenated term, scientific-aesthetic. It is an account of knowledge formation as it emerges when "works" and conceptualizations of the "real" arise from a species of thought governed co-equally by scientific and aesthetic principles. Fundamental to both scientific and aesthetic knowledge practices are the elusive entities of "space" and "time." This dissertation argues that the Bakhtinian "chronotope," significantly revised and expanded, makes possible a type of thought formed by a non-classical imaginary constituted by spacetime, or chronotopes freed of the limitations of an Euclidean geometric imaginary. The argument is made for a non-Euclidean geometric imaginary that produces a form of "thought" characterized by "transitive consciousness." The dissertation concludes with a theoretical sketch which raises the chronotope from the status of a tool for describing spacetime configurations governed by narrative imperatives in literature, to that of an analytical methodology, a full chronotoplogy, that has the capacity of describing and producing the play of chronotopes across the spectra of imagined actions, both linguistic and non-linguistic. Chronotopology is freed of the semiocentrism that has obsessed cultural critique for over a century.

ISBN: 9780542279690Subjects--Topical Terms:

516511
Philosophy.

Chronotopology and the scientific-aesthetic in philosophy, literature and art.
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502 $a Thesis (Ph.D.)--University of California, Santa Cruz, 2005.
520 $a Chronotopology and the Scientific Aesthetic in Philosophy, Literature and Art examines the epistemological discourse formation designated by the hyphenated term, scientific-aesthetic. It is an account of knowledge formation as it emerges when "works" and conceptualizations of the "real" arise from a species of thought governed co-equally by scientific and aesthetic principles. Fundamental to both scientific and aesthetic knowledge practices are the elusive entities of "space" and "time." This dissertation argues that the Bakhtinian "chronotope," significantly revised and expanded, makes possible a type of thought formed by a non-classical imaginary constituted by spacetime, or chronotopes freed of the limitations of an Euclidean geometric imaginary. The argument is made for a non-Euclidean geometric imaginary that produces a form of "thought" characterized by "transitive consciousness." The dissertation concludes with a theoretical sketch which raises the chronotope from the status of a tool for describing spacetime configurations governed by narrative imperatives in literature, to that of an analytical methodology, a full chronotoplogy, that has the capacity of describing and producing the play of chronotopes across the spectra of imagined actions, both linguistic and non-linguistic. Chronotopology is freed of the semiocentrism that has obsessed cultural critique for over a century.
520 $a This dissertation proceeds by case studies to its conclusion in chronotopology. After the introduction examines the necessity and problems of the hyphenated term, scientific-aesthetic, its first chapter establishes its historical parameters, locating the emergence of its "modern" form in England and France in 1840, and later in the work of Nietzsche. The work then turns to a philosophical examination of Foucault, first through a critique of his relation to Raymond Roussel, and then of his concept of the "aesthetics of existence" in his late work. This sets the stage for an examination of the philosophical significance of Gertrude Stein as she emerged from the work of William James, and for a comparative analysis of the thought of Alfred North Whitehead, Gaston Bachelard, and M. M. Bakhtin. A brief comparison to the doyen of "modern" dance, Merce Cunningham, follows. The sketch of chronotopology as both ingredient and methodology of the scientific-aesthetic brings this dissertation to its temporary end.
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