Logosphere (Greek from logos / nous) (coined by Mikhail Bakhtin) is an adaptation of the concepts biosphere and noosphere: logosphere is derived from the interpretation of words' meanings, conceptualized through an abstract sphere.[1][2]

Overview

The logosphere is not active like Vernadsky’s noosphere, but still occupies a type of four-dimensional space.[3][4]

The chronotope is the conduit through which meaning enters the logosphere.[5]

Mikhail Bakhtin's chronotope, or time-space (deterministic) makes outside-the-logosphere (unintelligible) information relevant to the logosphere through narrative structure.[6][5][7] Time takes on a protagonist's 'flesh'.[8]

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. ...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[.][9]

— Mikhail Bakhtin

Logosphere applications

Technological conceptualizations

The term was later taken up by virtual reality enthusiasts to describe the logical universe.

Telecommunications

The logosphere, in decades past, has been used in reference to the new world of communication created by the invention of the radio. French philosopher Gaston 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]

References

  1. ↑ http://www.solki.jyu.fi/julkaisee/dialoguesonbakhtin.pdf#page=27 Dialogues on Bakhtin: Interdisciplinary Readings
  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. S2CID 163684213. 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. S2CID 163684213. 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. 1 2 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. doi:10.1353/jnt.2007.0014. JSTOR 41304849. S2CID 162336034. 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. JSTOR 2499720. S2CID 147078360. 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. doi:10.1207/s15327981rr2501_3. JSTOR 20176698. S2CID 145482670. 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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