Logosphere (Greek fromlogos /nous) (coined byMikhail Bakhtin) is an adaptation of the conceptsbiosphere andnoosphere:logosphere is derived from the interpretation ofwords' meanings, conceptualized through an abstract sphere.[1][2]
Thelogosphere is not active like Vernadsky’snoosphere, but still occupies a type offour-dimensional space.[3][4]
Thechronotope is the conduit through which meaning enters the logosphere.[5]
Mikhail Bakhtin'schronotope, ortime-space (deterministic) makes outside-the-logosphere (unintelligible) information relevant to the logosphere throughnarrative structure.[6][5][7] Time takes on aprotagonist's 'flesh'.[8]
The adventure chronotope is thus characterized by atechnical, abstract connection between space and time, by thereversibility of moments in a temporal sequence, and by theirinterchangeability in space. ...Every concretization, of even the most simple and everyday variety, would introduce its ownrule-generating force, its ownorder, itsinevitable 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 timeis reversible[.][9]
— Mikhail Bakhtin
The term was later taken up byvirtual reality enthusiasts to describe thelogical universe.[citation needed]
The logosphere, in decades past, has been used in reference to the new world of communication created by the invention of theradio. French philosopherGaston Bachelard proclaimed, "Everyone can hear everyone else and we can all listen in peace." This "domain of world speech" should be called the logosphere, he reasoned.[10]
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').
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.
What counts for us is the fact that it expresses the inseparability of space and time (time as the fourth dimension of space).
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).
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.
Generally speaking, literary structure is not neutral with respect to philosophies of time. It strongly favorsclosed 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 narratedas 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.
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).
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 atechnical, abstract connection between space and time, by thereversibility of moments in a temporal sequence, and by theirinterchangeability in space. ...the degree ofspecificity andconcreteness of this world is necessarily very limited. ...Every concretization, of even the most simple and everyday variety, would introduce its ownrule-generating force, its ownorder, itsinevitable 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 timeis reversible[.]
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