Idyllic Chronotope as One of the Principles of Organizing Time and Space: The Example of Handel’s “Alcina” Staged by Katia Korabelnik

An operatic work is a complex assemblage of different arts.Space-time in an operatic work is organized as a set of scores of all participating arts and is based on the conventions of their chronotopes.Each score is part of the system.At the same time,it is also relatively independent and flexible and can become a leading component for building the structure of the work.The chronotope of an operatic piece has several levels:(1)A dramaturgical source(a musical score with a libretto)that creates the spatial-time system of the work.This is a musical and poetical text whose chronotope transfers it into a stage text,placing it as the chronotope of the performance.(2)A spatial-time-stage director system.A stage work is a material object and is also the original idea of its creator,their spiritual perception.Being so,we discover the dual reality-a physical space-time of the work and a metaphysical space-time of its idea.A spatial-time system is the stage language of the work,the coordination between its external and internal art form.The external form is a set of expressive representations and the internal form is a logical structure,the space-time of the director’s perception.(3)Spatial-time-singer system.The singer integrates into this system partially in a way that is conditioned by the parameters of the chronotope in the spatial-time system.(4)A time-spatial system-an observer.Here a synergistic situation is created in which the show at the time of its ending(disintegration)moves into the space-time of the viewer and changes their inner world.In the ever-growing mosaic of contemporary art,in a rich variety of different currents,there is a need to look for universal values-the fundamental things that produce a sense of uniformity and completeness of the artistic work.A temporal analysis,that is,the analysis of the chronotopes of an operatic work can become a starting point for different approaches that investigate the contemporary processes taking place in an operatic work,and can also show new directions in the development of the operatic genre itself.

Extending the Standard Model in Hyper-Dimensional Mechanics

According to studies on the precursive time quantum variable, this publication presents an in-depth analysis of the chapter on the correlation between the nuclear mass and electroweak force. This research shows that there is a close correlation between the nuclear mass and the energy of the orbitals which underlies the electroweak interaction.

Precursive Time, the Hidden Variable

In this paper, a new complex variable defined as “precursive time” able to correlate general relativity (GR) and quantum field theory (QFT) in a single principle was characterized. The thesis was elaborated according to a hypothesis coherent with the “Einstein’s General Theory of Relativity”, making use of a new mathematical-topological variety called “time-space” developed on the properties of the hypersphere and explained mathematically through the quaternion of Hurwitz-Lipschitz algebra. In this publication we pay attention to the interaction between the weak nuclear force theory (EWT) and the nuclear mass of the Standard Model.

Past and Present: Historical Views in Graham Swift’s Waterland

The semi-autobiographical novel Waterland by twentieth-century British writer Graham Swift has been recognized as a popular work by British literary critics.Under the guidance of Mikhail Bakhtin’s theory of the literary chronotope,this paper analyses both the various types of chronotope in the novel as well as the author’s historical view between different times and spaces through the dialogue.

On the Spatial Structures of the Narrative in Catch-22

Joseph Heller(1923-1999)’s celebrated novel Catch-22(1961)portrays the predicament of an individual,Captain John Yossarian of the 256th US Army Air Squadron,drifting apart in a helpless prodigious world.The absurdity and ludicrousness of the reconstructed world is strengthened by the elements of space in the narrative text.Drawing on Gabriel Zoran’s model of structuring of space within the fictional world,this essay analyzes the three levels of the structuring of space,namely the topographical level,the chronotopic level,and the textual level,and their functions in the novel.Topographical structures magnify the despair and deadly threats prevalent during wartime,whereas chronotopic structures underscore individual’s active endeavours and spiritual renewal in the face of institutional coercion.Textual structures,with three aspects of the text,the essential selectivity of language,the linearity of the text,and the point of view,bring forward the picture of the personal agony embedded in the grand establishment.

Becoming a Ruin： Breaking into the First Emperor＇s Necropolis

This article focuses on representations of Emperor Qin Shihuang＇s necropolis, an example of the tomb as a special form of landscape in Chinese literature and visual culture. Unlike remnants of other historic structures, the tomb is built to be an enclosed space and is contained in its own system of time. If a tomb is broken into, its system of time/space is fractured, and it becomes a ruin from the point of view of both its own historical function and its larger contemporary context. Both Chinese and American popular culture have a demonstrated fascination with breaking into Emperor Qin Shihuang＇s tomb. This article provides an analysis of three groups of texts from China and the United States, including Lilian Lee＇s novella The Terracotta Warrior and its screen adaptations, the 2005 film The Myth, directed by Stanley Tong, and its TV adaptation, and American texts including the 2001 NBC TV movie The Lost Empire, directed by Peter MacDonald, and the 2008 film The Mummy： Tomb of the Dragon Emperor, directed by Rob Cohen. After demonstrating how the special chronotope of Qin Shihuang＇s tomb directly affects the major thematic developments of these texts, this article then examines and compares how the different groups of texts confront the topics of death and immortality, excavation vs. preservation, and good vs. evil in ways that reflect the politics of representation.