로그권

Logosphere
기호학
일반개념
필드
방법들
반의사
관련 항목
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로그스피어(로고/nous에서 온 그리스어) (Michael Bakhtin이 공동주최)는 생물권과 noosphere의 개념을 각색한 것이다: 로그스피어는 추상적인 구를 통해 개념화된 단어의 의미 해석에서 파생된다.[1][2]

개요

주요 기사:다성음(문학)
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로그권은 버나드스키의 noosphere처럼 활발하지 않지만, 여전히 4차원 공간의 한 종류를 차지하고 있다.[3][4]

크로노토프는 의미가 로그권에 들어가는 통로다.[5]

미하일 바크틴의 크로노토프, 즉 시간 공간(결정론)은 서술 구조를 통해 로그스피어 바깥(지각할 수 없는) 정보를 로그권에 관련되게 한다.[6][5][7]주인공의 'flesh'는 시간이 걸린다.[8]

따라서 모험 크로노토프는 공간과 시간의 기술적, 추상적 연결, 시간적 순서의 순간의 가역성, 그리고 우주에서의 상호교환성에 의해 특징지어진다.모든 구체화, 심지어 가장 단순하고 일상적인 다양성조차도, 그 자체적인 규칙 생성력, 그 자체의 질서, 인간의 삶과 필연적인 연관성, 그리고 그 삶에 특정한 시간까지 도입할 것이다…전기적 시간은 역사적 사건과 불가분의 관계에 있는 삶의 사건 자체에 대해 되돌릴 수 있는 것이 아니다.그러나 성격상 그런 시간은 되돌릴 수 [9]있다

— Mikhail Bakhtin

로그권 응용

기술 개념화

이 용어는 나중에 가상현실 애호가들이 논리적인 우주를 묘사하기 위해 취하게 되었다.[citation needed]

통신

주요 기사:통신

수 십 년 전, 로그권은 라디오의 발명에 의해 만들어진 새로운 통신 세계를 참고로 사용되어 왔다.프랑스의 철학자 가스통 바첼라르는 "모든 사람은 다른 모든 사람의 말을 들을 수 있고 우리는 모두 평화롭게 들을 수 있다"고 선언했다.그는 이 "세계 언어의 영역"을 로그스피어라고 불러야 한다고 주장했다.[10]

참조

  1. ^ http://www.solki.jyu.fi/julkaisee/dialoguesonbakhtin.pdf#page=27 Bakhtin에 대한 대화:학제간 판독값
  2. ^ Mandelker, Amy (1994). "Semiotizing the Sphere: Organicist Theory in Lotman, Bakhtin, and Vernadsky". PMLA. Cambridge University Press. 109 (3): 385–396. doi:10.2307/463075. JSTOR 463075. Retrieved 11 May 2021. Lotman's semiosphere derives from Mikhail Bakhtin's logosphere, itself adapted from ... Vladimir Vernadsky's notion of the biosphere. ... Lotman acknowledges his debt to Bakhtin's suggestive notion of the 'logosphere,' that 'dialogic sphere where the word exists' ... (Bakhtin, 'From Notes' 150[).] ... Vernadsky's ecological theory embeds humanity in the biosphere by positing conscious thought on the planet as a distinct geological force—the 'noosphere' (named from the Greek vóoç 'mind').
  3. ^ Mandelker, Amy (1994). "Semiotizing the Sphere: Organicist Theory in Lotman, Bakhtin, and Vernadsky". PMLA. Cambridge University Press. 109 (3): 385–396. doi:10.2307/463075. JSTOR 463075. Retrieved 11 May 2021. Bakhtin rejects Vernadsky’s view of an active noosphere cultivating the biosphere and instead adopts an almost Husserlian subjectivity where the inner dialogic relation between existence and consciousness functions only to alter perception.
  4. ^ Bakhtin, Mikhail Mikhailovich (2020) [1981]. "Forms of Time and of the Chronotope in the Novel: Notes toward a Historical Poetics". In Holquist, Michael (ed.). The Dialogic Imagination: Four Essays. Slavic Series, NO. 1. Translated by Emerson, Caryl; Holquist, Michael. Austin, Texas, USA: University of Texas Press. p. 84. ISBN 978-0-292-71534-9. What counts for us is the fact that it expresses the inseparability of space and time (time as the fourth dimension of space).
  5. ^ a b Crichfield, Grant (1991). "Bakhtin's Chronotope and the Fantastic: Gautier's 'Jettatura' and 'Arria Marcella'". Journal of the Fantastic in the Arts. 4 (3): 25–39. JSTOR 43308108. Retrieved 17 May 2021. Bakhtin states that the chronotope, or conjunction of time and space, is a 'formally constitutive category' (84) of literature ...According to Bakhtin, the chronotope's central role in literature derives from the fact that, in order to be communicated and understood by others, any meaning must take on the form of a sign, or temporal-spatial expression that is audible and visible to us. 'Consequently, every entry into the [logos]sphere of meanings is accomplished only through the gates of the chronotope' (258).
  6. ^ Alexander, Lily (2007). "Storytelling in Time and Space: Studies in the Chronotope and Narrative Logic on Screen". Journal of Narrative Theory. 37 (1): 27–64. JSTOR 41304849. Retrieved 17 May 2021. chronotope (literally 'time-space'—representation and conceptualization of the artistic time and space, derived by Bakhtin from Einstein’s theory of relativity) …This type of narrative time-space …are associated with the trials, sufferings and tests one cannot avoid on a difficult journey.
  7. ^ Morson, Gary Saul (1993). "Strange Synchronies and Surplus Possibilities: Bakhtin on Time". Slavic Review. Cambridge University Press. 52 (3): 477–493. doi:10.2307/2499720. Retrieved 18 May 2021. Generally speaking, literary structure is not neutral with respect to philosophies of time. It strongly favors closed temporalities. It is therefore comparatively easy and common to make the shape of a work reinforce a fatalistic or deterministic view of time ...Such repetitions happen forward, not backward, and they require no underlying structure; but once they happen, they can always be narrated as if a plan were simply revealed over time. In fact, the conventions of narrative favor such a presentation, because narratives are told after the fact. To repeat: narratives are predisposed to understanding in terms of structure.
  8. ^ Mutnick, Deborah (2006). "Time and Space in Composition Studies: 'Through the Gates of the Chronotope'". Rhetoric Review. 25 (1): 41–57. JSTOR 20176698. Retrieved 18 May 2021. A text, writes Bakhtin, occupies 'a certain specific place in space [...and] our acquaintance with it occurs through time' (252). ...In Bakhtin's words: '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' (84).
  9. ^ Bakhtin, Mikhail Mikhailovich (2020) [1981]. "Forms of Time and of the Chronotope in the Novel: Notes toward a Historical Poetics". In Holquist, Michael (ed.). The Dialogic Imagination: Four Essays. Slavic Series, NO. 1. Translated by Emerson, Caryl; Holquist, Michael. Austin, Texas, USA: University of Texas Press. pp. 100, 141. ISBN 978-0-292-71534-9. Separate adventures, complete in themselves, are also interchangeable in time, for adventure-time leaves no defining traces and is therefore in essence reversible. The adventure chronotope is thus characterized by a technical, abstract connection between space and time, by the reversibility of moments in a temporal sequence, and by their interchangeability in space. ...the degree of specificity and concreteness of this world is necessarily very limited. ...Every concretization, of even the most simple and everyday variety, would introduce its own rule-generating force, its own order, its inevitable ties to human life and to the time specific to that life. ...Biographical time is not reversible vis-à-vis the events of life itself, which are inseparable from historical events. But with regard to character, such time is reversible[.]
  10. ^ Campbell, Timothy C. (January 2006). Wireless Writing in the Age of Marconi. ISBN 9780816644421.


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