Cinnabar and Alabaster

passages
par 1. "chronotopes are not only semantic elements of texts; they are also (and in the first place) cognitive strategies applied by specific readers and writers....bakhtin intends to conceive literature as a dialogue between (mutually interacting) texts...and the prior knowledge of readers and writers....this interaction between texts and mental procedures can be conceptualized in terms of invariant structures within literary communication--chronotopes--which are cognitive invariants used by writers and readers in order to structure historically and textually divergent semantic elements"
par 7. "bahktin extends the genre theory found in the earliest writings of the bahktin circle by defining generic devices as chronotopic structures: genres are seen as founded on a complex of temporal and spatial markers which dominate a specific class of texts"; "chronotopes...are not purely formal phenomena but mental constructions that take shape in the pragmatic interaction with texts. although time and space are embedded in texts, they do not unite until they enter the minds of concrete writers and readers" which understanding can shift "the emphasis of critical analysis" of texts away from "narrative action" to "the chronotopic constructions that writers and readers associate with the text"
par 15. looking at "chronotopes as fictional world models" happens at 2 (ambiguously entertwined) levels: "language-knowledge and world-knowledge"; although bahktin seems to see them primarily as "schematic structures belonging to the field of world knowledge[,] they are in fact a kind of 'action schemata'"
16. what bahktin calls "motifs" = "textual triggers" & "chronotopes" = "memory schemata": "thus, the motif of meeting with the beloved (a feature of the adventure novel) can be seen as a trigger activiating an action schema (the reader's prior knowledge of love affairs)."