چکیده:
The spatiotemporal continuum and polyphony hold a special place in Bakhtin's dialogic logic. Although most of the research conducted so far, which has taken a Bakhtinian approach as its focus, has been centered on the genre of the novel, the genre of drama, with its capabilities for establishing dialogue, can be a new ground for Bakhtinian studies. This article attempts to use the spatiotemporal continuum and polyphony as analytical tools in Eugene O'Neill's play 'The Iceman Cometh' to provide a Bakhtinian reading of this work by O'Neill. Through the spatiotemporal continuum, the importance of the concept of time and place and their mutual influence on each other can be examined to explain the concepts desired by the playwright. Also, polyphony shows why and how O'Neill was able to bring together characters with different backgrounds in a hall and allow them to have a voice of their own, and even the playwright's voice could not suppress it.
خلاصه ماشینی:
This article attempts to use the spatiotemporal continuum and polyphony as analytical tools in Eugene O'Neill's play The Iceman Cometh to provide a Bakhtinian reading of this work by O'Neill.
Keywords: Spatiotemporal Continuum, Polyphony, Dialogic Logic, Mikhail Bakhtin, Eugene O'Neill Introduction The current popularity resulting from the “discovery” of Mikhail Bakhtin’s (1895-1975) writings has led to a growing number of views and approaches in which Bakhtin is presented as a provider of a new framework in literary discussions.
To achieve this goal, the spatiotemporal continuum and polyphony are considered as analytical tools so that through them, one can gain a new perspective on the concepts of time, space, their reciprocal effect on each other, the application of different – and sometimes contradictory – voices with diverse ideologies, and the freedom of characters in expressing their opinions in The Iceman Cometh.
An important point that should be considered regarding the spatiotemporal continuum of the saloon in this work is that despite being the last hope for the characters of the play, it can never create a united community of them.
In their book Mikhail Bakhtin, Katrina Clark and Michael Holquist define heteroglossia as “a combination of different language groups, cultures, and classes” (1986, 85), and it seems that O’Neill, in The Iceman Cometh, has paid more attention to this matter than other contemporary playwrights.
Considering the existing need to create a connection between Bakhtin and the world of drama, this article attempts to examine the two concepts of spatiotemporal continuum and polyphony in Eugene O’Neill’s The Iceman Cometh.
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