The Role of The Chronotope within Advertising Narrative

Abstract
The chronotope can be defined as the intrinsic connectedness of temporal and spatial
relationships that are artistically expressed in literature (Bakhtin 1994) and as the
indissoluble combination of [! t"o elements# plot and story ($ol%uist 1994)& This paper
ad'ances the notion of the advertising chronotope and in'esti(ates its role "ithin ad'ertisin(
narrati'es usin( interpretati'e analysis of contemporary print and ambient ad'ertisin(& The
chronotope is employed as )*oom+ and )"ide,an(le+ lenses to yield insi(hts into the role and
si(nificance of the ad'ertisin( chronotope& This article proposes literary criticism as a source
of insi(ht into ad'ertisin( strate(y by re'ealin( the representational and artistic si(nificance
of the chronotope "ithin ad'ertisin( narrati'e and points out the potential of the chronotope
as a tool for )a broader social and historical analysis+&
Key Words: ad'ertisin( chronotope- .ikhail Bakhtin- ambient ad'ertisin(- print
ad'ertisin(- space and time&
/ord 0ount# 1-221
Content:
The Bakhtinian Concept Chronotope
The Chronotope of !ntra"Te#t$al and %#tra"Te#t$al Worlds
!nterpretative Analysis: The Chronotope of !ntra"Te#t$al World of A&bient
Advertising
!nterpretative Analysis: The Chronotope of !ntra"Te#t$al World of 'rint
Advertising
The Chronotope and The Advertising !deology
Concl$sion


1
The concept of the )chronotope+ has been applied to literary analysis by the t"entieth
century philosopher and "riter .ikhail Bakhtin (1394,1914)& 5n his "ork- Forms of Time
and of the Chronotope in the Novel- Bakhtin (1994) notes that he borro"s the term
)chronotope+ from 6instein+s Theory of 7elati'ity (p& 34)& .ikhail $ol%uist (1994)
indicates ho"e'er that Bakhtin+s first encounter "ith this term took place in the summer
1984- in a lecture on the chronotope in biolo(y by the leader of the 9enin(rad+s school of
psycholo(ists and scientists- :leksey ;khtomsky (p& 14<)& The term )chronotope+ has
been employed by Bakhtin as a constituti'e cate(ory of literature as "ell as a determinant
of (enre and ima(e of man in literature&
=or Bakhtin- time and space exist only "hen a chan(e happens& The state bet"een
"hat "as and "hat is constitutes an e'ent "hich constructs chan(e& Therefore- time
and space- "hich is created "ith this mo'ement bet"een "hat "as and "hat is-
encapsulates 'alue ($ol%uist 1994- p& 144)& =or this reason- there is no time or space
"ithout 'alue& Bakhtin adopts and uses the term )chronotope+ to sho" the relation
bet"een the four elements of time- space- the 'alue of time and the 'alue of space&
:ccordin( to Bakhtin- time and its 'alue and space and its 'alue are co,created- "hich
therefore means there is no time or space "ithout 'alue&
The concept of the )chronotope+- althou(h used by Bakhtin (1994) for literary
criticism- has been applied to the analysis of many other texts# films (0ue'as 8>>2?
0hanan 8>>>? @eltche'a and Alaso' 1991)- paintin(s (Best 1994)- short stories (=alconer
1993)- cybertexts (Barrett n&d&)- shoppin( mall (.aclaran and Bte'ens 1993) and popular
culture ($oy 1998)& Cet- the use of the chronotope for analy*in( ad'ertisin( has recei'ed
scant attention amon( researchers (Bro"n 1939? Bro"n- Bte'ens- and .aclaran 1999)
and some important aspects of the chronotope seem to be o'erlooked by them& This study
ar(ues that the )chronotope+ can be a useful cate(ory in ad'ertisin(& 5t examines the
artistic and historic si(nificance of the ad'ertisin( chronotope- its ability to materiali*e
(Bakhtin 1994- p& 84>) and (i'e body to an e'ent "ithin ad'ertisin( narrati'e& Therefore-
the ad'ertisin( chronotope can be 'ie"ed as an artistic tool- useful for ad'ertisin(
strate(y& Cet- ho" exactly does the chronotope )materiali*e+ e'ents "ithin ad'ertisin(
narrati'eD /hat are the functions of the ad'ertisin( chronotopeD 5n order to ans"er these
%uestions- this study uses the chronotope as a )*oom+ and )"ide,an(le+ lenses for
8
conductin( chronotopic analysis of a concrete ad'ertisements as "ell as for conductin(
historical and social analysis of ad'ertisin(&

The Bakhtinian Concept Chronotope
Bakhtin (1994) (i'es the name )chronotope+ to the intrinsic connectedness of
temporal and spatial relationships that are artistically expressed in literature (p& 34)& The
chronotope plays the role of the or(ani*ational centre in a narrati'e& 5t is the place
"here the knots of narrati'e are tied and untied (p& 84>)& Bakhtin (1994) describes the
chronotope in the follo"in( "ay-
Time- as it "ere- thickens- takes on flesh- becomes artistically 'isible? like"ise- space becomes
char(ed and responsi'e to the mo'ements of time- plot and history& This intersection of axes and fusion
of indicators characteri*es the artistic chronotope (p& 34)&
The key notions necessary for our understandin( of the )chronotope+ concept are a story-
in "hich e'ents unfold in their chronolo(ical order ($ol%uist 1994- p& 11<) and a plot- the
se%uence of the same e'ents "hich are arran(ed and connected accordin( to the
orderly se%uence in "hich they "ere presented in the "ork (Tomashe'sky 1924- p& 21)&
These are precisely the notions that $ol%uist (1994) brin(s up "hen definin( the
chronotope as the total matrix that is comprised by both the story and the plot of any
particular narrati'e (p& 11<)& Therefore- in order to re'eal the ad'ertisin( chronotope
"ithin an ad'ertisin( narrati'e it is important to concei'e the story and the plot of this
narrati'e& 5n ad'ertisin( as "ell as in the no'el- the se%uence of e'ents (plot) unfolds in
space ("hich can be either actual space orEand co(niti'e space) in a particular "ay
(story)& 5n order that the e'ent has meanin( it must happen a(ainst the back(round of
e'erythin( else# nothin( can be percei'ed except a(ainst the perspecti'e of somethin(
else ($ol%uist 1994- p& 88)&
5t should be noted that the chronotope- as su((ested by $ol%uist (1994)- must be
treated bifocally [!# in'okin( it in any particular case- one must be careful to
discriminate bet"een its use as a lens for close,up "ork and its ability to ser'e as an optic
for seein( at a distance (p& 11<)& =or example the analysis conducted by Best (1994)-
0ue'as (8>>2) and $oy (1998) use the chronotope as a )*oom lens+ for in'esti(atin( the
)intra,textual "orld+ "hile the analyses of Bra"n (1993) and .aclaran and Bte'ens
(1993) examine the relation of narrati'e of )extra,textual "orld+ ($ol%uist 1994- p& 118)&
<
Chronotope of !ntra"Te#t$al and %#tra"Te#t$al Worlds
5n his article- The Immigrant Experience in Jonas Mekass Diary Films !
Chronotopic !nalysis of "ost# "ost# "ost- 6fren 0ue'as (8>>2) looks at the narrati'e of
film throu(h the experience of time and space by Fonas .ekas& .ekas is the creator of a
film "herein he records a diary and shares his experience of bein( a 9ithuanian
immi(rant in :merica& 0ue'as (8>>2) demonstrates ho" the experience of the immi(rant
.ekas is expressed throu(h the temporal and spatial axes of the film& $is analysis is
'aluable for this study because it can help de'elop a chronotopic approach to ad'ertisin(
analysis&
0ue'as (8>>2) percei'es the street as one of the film+s chronotopes& $e thinks that the
chronotope of the street resembles the chronotope of the road as described by Bakhtin
(1994) in his book The Dialogic Imagination& These chronotopes share the same
characteristics# random encounters- intersection of people of all social classes- estates-
reli(ions- nationalities- a(es and the collapse of social distances (Bakhtin 1994- p&
84<)& 0ue'as (8>>2) defines the chronotope of the street as a place "here people may
stay or pass throu(h but "here no one establishes a home& 5t is a place "ith no o"ner-
"here no roots can (ro" [! (p& 21)&
5n the article The Chronotope and the $eneration of Meaning in Novels and
%aintings- Fanice Best (1994) contrasts the "ritin(s of =laubert "ith the paintin(s of a
=rench painter- Gdouard .anet (1328H132<)& The distinction bet"een public and pri'ate
are %uestioned in =laubert+s no'els as "ell as in .anet+s paintin(s& Best (1994) obser'es
the spatial and temporal dimensions of .anet+s paintin(s# &oating and !rgnete'il# les
Canotiers& The author comments- .anet places his subIects a(ainst a back(round of
fluidity [! (p& 894)& Best underlines the inconsistency of the details in the paintin(-
[! the an(le of the hat "orn by the "oman- or the cord "hich appears to be the reflection of a smoke
stack in the "ater- but "hich could also be a part of the ri((in( of the boat H %uestion the possibility
that these obIects- as they are represented- could lo(ically co,exist "ithin the same pictorial space
(ibid)&

$ere- the temporal dimension is represented by the mo'ement of "ater and smoke& The
spatial dimension is represented by the space occupied by the characters of the paintin(&
This space is ambi(uous& 5t allo"s the dissolution of social distinctions- facilitates
4
confusion bet"een public and pri'ate [! (Best 1994- p& 892)& .anet creates the
timeEspace matrix "ithin the paintin( by depictin( stability and flux&
$oy (1998) considers youth as the chronotope of popular culture& Bhe pro'ides a
chronotopic analysis of The Face ma(a*ine-
[The! permanent existence in a 'acuum of youth,time resembles a kind of (eneric "hole "hich
Bakhtin in his studies on the no'el refers to as the chronotope (space,time# accordin( to Bakhtin e'ery
entry into the sphere of meanin( is accomplished only throu(h the (ates of the chronotope)& 5n the
no'el- the chronotope can take a 'ariety of forms,Bakhtin mentions chronotopes of the road- the
threshold- the castle- the family idyll& The =ace fi(ures an eternal chronotope of youth- of youth
ad'enture- the folkloric conception of the ideali*ed be(innin(- youth idyll "ith its ma(ic costumes and
accoutrements,cosmetics- fashionable clothes- pop music- certain brands of ci(arettes- and so on& The
youth idyll presented by The =ace is a characteristic of folkloric time charted a(ainst the back,(round
of the readerJs o"n- contemporary perception of time ($oy 1998- p& 119)&
:s one can see- for $oy (1998) youth,time in The Face ma(a*ine resembles the
chronotope& But there is an inconsistency bet"een $oy+s 'ie" of the chronotope and the
Bakhtinian perception- "hich- as $oy herself notes- is the intersection of both space and
time dimensions& =or this reason- accordin( to Bakhtin- youth by its con'entional
meanin( cannot be the chronotope& $oy understandably exa((erates the importance of
time by do"n(radin( the factor of space because Bakhtin (1994) himself underlines the
dominant role of time in the chronotope (p& 32)& =ollo"in( the Bakhtinian analysis of
Kreek 7omance- one can see that Bakhtin (1994) defines the chronotope of Kreek
romances as an alien (orld in ad'enture time (my emphasis- p& 1>8)& /hat $oy (1998)
has omitted in her study is the dimension of space or- to be more precise- the description
of youth idyll "ith its ma(ic costumes and accoutrements,cosmetics- fashionable
clothes- pop music- certain brands of ci(arettes should ha'e been identified as thin(s
that are or(ani*ed by The Face in a particular discourse of youth,space& Lne can ar(ue
that the reason for such an error in interpretin( youth as the chronotope is that today+s
person defines his or her ima(e accordin( to time& The ideali*ation of youth is often
reflected in present,day literature- TA sho"s- films and ad'ertisin(& Bakhtin (1994)
asserts that the chronotope [! determines to a si(nificant de(ree the ima(e of man in
literature [! (p& 34)& The ima(e of a contemporary man in The Face ma(a*ine mi(ht
be determined by youth- but youth cannot be the chronotope of entire popular culture
because popular culture cannot be reduced to the case of one particular ma(a*ine&
4
Lne should remember that the chronotope does not exist in )itself+ but it is al"ays the
chronotope of somethin( or someone- for example the chronotope of the road- the
chronotope of a story- or the chronotope of Bakhtin+s life& $ol%uist (1994) explains-
9ike the utterance- chronotope is not a term that can be in'oked in (eneral& 5t must be a chronotope
of someone for someone a)o't someone& 5t is ineluctably tied to someone (ho is in a sit'ation
($ol%uist 1994- p& 141)&
Therefore- the chronotope of The Face ma(a*ine can be defined )y *oy as yo'th+time in
yo'th+space# althou(h any other )obser'er+ may percei'e the chronotope of The Face in
different "ay&
Btephen Bro"n+s analysis of the ad'ertisement for Mo,t and Chandon champa(ne is
an exemplar of the use of the chronotope as )a fundamental tool for a broader social and
historical analysis+& Bro"n (1993) studies the relation bet"een the ad'ertisement and its
times- the chronotope of )extra,textual "orld+- rather then the chronotope of )intra,textual
"orld+-
5f "e ask oursel'es about its position or settin( in time and space- the ans"er is far from clear& 5t is a
contemporary ad'ert that refers us back- stylistically at least- to the do( days of the late nineteenth
century- an era that has much in common "ith our o"n decadent postmodern times [!& 5n terms of
content- "e are catapulted back some 84> years to the establishment of the company and- more- to the
point- to the indeterminate- archaic- prehistorical past of the ancient "orld- or- rather- to the ancient
"orld as "e ima(ined it to be [!& Lur spatial coordinates are e%ually imprecise- since this is an
ad'ertisement for a manufacture of =rench champa(ne- "hich appeared in British ma(a*ines-
employin( the techni%ues of a 0*ech artist [! (Bro"n 1993- p& 14>)&

:nd earlier-
[! the copy is also an allusion to the manifold sex scandals that occurred at around about the time of
.oMt+s ad'ertisin( campai(n (p& 1<3)&
=rom these passa(es it becomes ob'ious that Bro"n (1993) analyses the ad'ertisement
for Mo,t and Chandon champa(ne in relation to historical time& $e examines the traces
of the e'ents that happened in different times and spaces- he finds out the traces of
different centuries and artistic influences&
:nother case of applyin( the chronotope as )an optic for seein( at a distance+ is the
chronotopic analysis of No"erscourt To"nhouse 0entre in @ublin conducted by
.aclaran and Bte'ens (1993)& The authors claim that the No"erscourt (ains its utopian
effect by distancin( itself from the present (p& 114)& 5t con'eys the impression [! of
enterin( and lea'in( time in a spatio,temporal ha*e "here the centuries are confused
2
(.aclaran and Bte'ens 1993- p& 113)& 5t can be seen that the timeEspace matrix of the
No"erscourt is studied- in the same "ay as the ad'ertisement for Mo,t and Chandon
champa(ne- in relation to historical time&
:s it has been demonstrated the chronotope has been used as a )"ide,an(le lens+ for
analysin( ad'ertisin( narrati'e& This study carries out analysis of the print and ambient
ad'ertisin( usin( the chronotope as a )*oom lens+ and explores the function of the
chronotope "ithin ad'ertisin( narrati'e- the chronotope of )intra,textual+ "orld& 5t also
discusses the relation of the chronotope of ad'ertisin( narrati'e to )extra,textual "orld+
usin( a )"ide,an(le lens+& The present study sho"s ho" the interconnectedness of space
and time can ser'e as one of possible strate(ic choices in the attempt of ad'ertisin(
practitioners to reinforce the influence of ad'ertisin( messa(e because the chronotope-
accordin( to Bakhtin- has artistic and representati'e po"er in narrati'e&
!nterpretative Analysis: Chronotope of !ntra"Te#t$al World of A&bient
Advertising
:mbient ad'ertisin( refers to ad'ertisements embedded in )public+ space such as bus
stops- cafes- public toilets- shops- transportation 'ehicles- store floors- park benches-
telephones- buildin(s- (as pumps- and ele'ator "alls amon( other types of spaces&
$ackley (8>>1) describes ambient ad'ertisin( as inserted into locali*ed situations such
as on bus tickets- shoppin( trolleys- steps in tube stations- beer mats- litter bins and petrol
pump no**les (p& 114)& This description is reminiscent of experiential marketin( "hich
is explained by Olein (8>>>) as ad'ertisin( "hich penetrates e'eryday life and space#
sticker ads on pieces of fruit promotin( !&C sitcoms- "evi+s ads in public "ashrooms- corporate lo(os
on boxes of $irl $'ide cookies- ads for pop albums on takeout food containers- and ads for &atman
mo'ies proIected on side"alks or into the ni(ht sky (p& 18)&
Bimilarities bet"een ambient and experiential marketin( are explainable as ambient
ad'ertisin( is a close relati'e of experiential marketin( (.oor 8>><- p& 44,42)& 5n this
study ambient ad'ertisin( is concei'ed as ad'ertisements "hich are placed in e'eryday
spaces rather than con'entional ad'ertisin( media (.oor 8>><- p& 44,42)&
:d'ertisin( a(encies manipulate the chronotopes of )public+ space to their ad'anta(e
as they use these places and their characteristics as the medium of their campai(ns&
1
:d'ertisin( companies turn the chronotopes of )public+ space into ad'ertisin(
chronotopes& The role of these chronotopes is to (i'e body to the entire ad'ertisin(
messa(e& Bakhtin (1994) asserts that [! the chronotope makes narrati'e e'ents
concrete- makes them take on flesh- causes blood to flo" in their 'eins (p& 84>)&
The e'ents "ithin ad'ertisin( narrati'e can become )materiali*ed+ "ithin the
chronotope& This Bakhtinian understandin( of )e'ent+ is constructed throu(h the lon(
for(otten aspect of the 7ussian "ord e'ent (so)ytie)& $ol%uist (1994) brin(s the readers+
attention to the etymolo(y of the "ord so)ytie-
5n 7ussian- e'ent is a "ord ha'in( both a root and a stem? it is formed from the "ord for bein( H
)ytie (PQRST) H "ith the addition of the prefix implyin( sharedness- so,-co,- (or- as "e should say in
6n(lish- co, as in co,operate or co,habit)- (i'in( so)ytie# e'ent as co,bein(& Bein( for Bakhtin
then is not Iust an e'ent- but an e'ent that is shared& Bein( is a simultaneity? it is al"ays co,bein( (p&
84)&

The meanin( of an e'ent is explained by $ol%uist (1994) by dra"in( a parallel "ith the
6instein+s explanation of e'ent-
=or 6instein there is no chronolo(y independent of e'ents& The mo'ement of the clock+s hands- if that
mo'ement is to be an e'ent H if it is to mean anythin( to a human bein( percei'in( it H must al"ays be
correlated "ith somethin( happenin( outside the clock& :n e'ent- in other "ords- is al"ays a dialo(ic
unit in so far as it is a co,relation# somethin( happens only "hen somethin( else "ith "hich it can be
compared re'eals a chan(e in time and space [! (p& 112)&
=or the chronotope of )public+ space- such as a bus stop or *ebra crossin(- to become the
ad'ertisin( chronotope- it should be in co+existence "ith 'ie"ersEreaders and it should
ac%uire meanin( for them& The ad'ertisin( messa(e "ants to be heard- 'ie"ed and
understood by customers& 5t "ants to share the same space and time "ith 'ie"ers in order
to become an e'ent "ithin the narrati'e constructed by them&
The chronotope is the place "here the knots of narrati'e are tied and untied
(Bakhtin 1994- p& 84>)- and "here the turnin( point of the story occurs& 5t can be the
chronotope of meetin(- searchin(- separatin(- etc& "hich can (et )materiali*ed+ on the
street- bus stop- *ebra crossin(- corridor etc&& Buch is the representational function of the
ad'ertisin( chronotope& Thus- advertising chronotopes can )e characteri-ed as
(here.(hen the advertising message )ecomes an event in the vie(ers narrative and so
/materiali-ing the advertising message (ithin the space.time matrix0
Lne ambient ad'ertisement chooses to use a road,side stop si(n for con'eyin( an anti,
smokin( messa(e (=i(ure 5)& Thus- the ad'ertisin( company manipulates the chronotope
3
of the road and uses it to its o"n ad'anta(e& This manipulation is achie'ed by introducin(
a ne" element to the existin( chronotope of )public+ space- such as the *ebra crossin(&
The *ebra crossin( can be described as the place of random encounters- collision and
inter"ea'in( for different (roups (0ue'as 8>>2- p& 21)- "hich is consistent "ith the
chronotope of the road described by Bakhtin (1994)& The stop si(n "hich is dressed up by
the ad'ertisin( a(ency to look like a ci(arette is embedded in the chronotope of the road&
The chronotope of the road makes the ad'ertisin( messa(e concrete and makes it take on
)flesh+& The messa(e offers a choice to a 'ie"er& This choice creates a mo'ement in the
timeEspace matrix& By doin( so it char(es the timeEspace matrix "ith 'alue& By collidin(
the )public+ narrati'e of stop si(n in *ebra crossin( and the )pri'ate+ narrati'e of the
'ie"er it (uides the 'ie"er to the messa(e of the ad'ertisement "hich is to stop smokin(&
5t is apparent that this is not only a relationship bet"een time and space but time and its
'alue and space and its 'alue "ithin the timeEspace matrix "hich is used to brin(
'ie"ers+ attention to a specific messa(e&
The road is a place of random encounters? people "ho are normally kept separate by
social and special distance can accidentally meet [! (Bakhtin 1994- p& 84<)& Thus-
ad'ertisin( placed "ithin the chronotope of the road can reach people of different social
classes- a(es- (enders- and reli(ions- fulfillin( the purpose of the antismokin( campai(n&
The ad'ertisement becomes a part of not only specific time and space but- also a part of
'arious human fates and li'es (Bakhtin 1994- p& 84<)& The stop si(n becomes the
ad'ertisin( messa(e "ithin the timeEspace matrix& 5n the anti,smokin( ad'ertisement
"hich is placed in front of the *ebra crossin(- the ad'ertisin( messa(e is part of the
chronotope of the cross"alk& Thus- the chronotope of the cross"alk- a )public+ space-
turns into the ad'ertisin( chronotope "ithin )public+ space& The messa(e tells the 'ie"er
that the conse%uence of smokin( is like the conse%uence of not payin( attention to a stop
si(n at the *ebra crossin(# you may not only hurt yourself but you could be hurtin(
others&
5n another example of ambient ad'ertisin( for a "rist "atch (=i(ure 55)- the safety
handle on a bus is transformed into a "rist "atch& The space is shared bet"een the bus
passen(er and the ad'ertisement# the passen(er becomes a part of the ad'ertisement and
the ad'ertisement becomes an extension of the passen(er+s hand& The ad'ertisement and
9
the 'ie"er are intert"ined for a specific duration of time "ithin the chronotope of the
bus& This use of space "ithin the bus creates the ad'ertisin( chronotope for the "rist
"atch company& 5f the ad'ertisin( messa(e turns into an e'ent "ithin the bus passen(er+s
narrati'e the bus becomes the ad'ertisin( chronotope& 5n this case the ad'ertisin(
messa(e becomes )materiali*ed+ in a %uite literal sense& The ad'ertisin( messa(e intrudes
into the pri'ate space of passen(ers by interactin( "ith their bodies&
=or a period of time bus passen(ers become dependent on the ad'ertisement because
their safety is partially in hands of the ad'ertisement& The handle "hich is supposed to
pro'ide safety in a moment of crisis and may play a crucial role in the passen(er+s
destiny in an emer(ency is used as an ad'ertisin( medium& 5n the chronotope of the bus
the fate of the 'ie"er depends on the ad'ertisement& This sho"s the si(nificance of the
ad'ertisin( chronotopes as they fuse "ith the )real,life+ chronotopes& Thus- time becomes
the factor bein( ad'ertised and experienced- in the same "ay that safety (both public and
pri'ate) collapse into each other& The ad'ertisement limits the passen(ers+ choice by
utili*in( the obIect "hich is supposed to keep them safe and reinforces its messa(e&
!nterpretative Analysis: Chronotope of !ntra"Te#t$al World of 'rint Advertising
Bakhtin (1994) describes se'eral chronotopes "ithin literary texts that one may also
find "ithin ad'ertisin( texts& The table belo" compares Bakhtin+s comments re(ardin(
the chronotopes "hich can be found in literary texts "ith my analo(ues for the
ad'ertisin( chronotopes&
The (iterary Chronotope The Advertising Chronotope
:d'enture,time# all moments of this
infinite ad'enture,time are controlled by
one force H chance (Bakhtin 1994- p& 94)&
Uonhuman forces such as fate- (ods- or
'illains take all the initiati'e&
:d'enture,time# a productEser'ice is (i'en
by some irrational force suddenly and
Iust at that moment& 5nitiati'e does not
belon( to the characters but to some forces&
The chronotope of the road# it is usually
associated "ith random encounter& Neople
"ho are normally kept separate by social
and spatial distance can accidentally meet
(Bakhtin 1994- p& 84<)&
The chronotope of the road# a
productEser'ice initiates an accidental
meetin( bet"een characters and defines
their fates&
1>
The motif of transformation# it sho"s ho"
an indi'idual becomes other than "hat he
"as (Bakhtin 1994- p& 114)&
The motif of transformation# a
productEser'ice helps ad'ertisin( characters
to become happier- healthier- youn(er-
more attracti'e- successful- etc&
5dyllic chronotope# there are se'eral types
of idylls# the lo'e idyll [!? the idyll "ith
a focus on a(ricultural labour? the idyll
dealin( "ith craft "ork? and the family
idyll (Bakhtin 1994- p& 884)&
5dyllic chronotope# e&(&- a family idyll is
created "ith the help of a productEser'ice-
"hich brin(s to(ether family members-
creatin( the atmosphere of happiness and a
unification "ith nature&
0hronotope of threshold# places "here
crisis e'ents occur- the falls- resurrections-
rene"als- and epiphanies- decisions that
determine the "hole life of a person
(Bakhtin 1994- p& 843)&
0hronotope of threshold# a productEser'ice
appears in an emer(ency or critical moment
and helps ad'ertisin( characters to chan(e
their fates&
Table !: 9iterary and :d'ertisin( 0hronotopes

=or purposes of illustration- this essay re'eals the si(nificance of the chronotope
"ithin the print ad'ertisement for !'di 12& 5n de'elopin( our understandin( of the
chronotope of the )intra,textual+ "orld of print ad'ertisin(- the interpreti'e method is
employed& =ollo"in( $ol%uist+s analysis- the study pursues the (oal to define the story
and the plot "ithin the ad'ertisin( narrati'e in order to identify the artistic 'alue of the
chronotope of )intra,textual+ "orld& :lthou(h- stories and plots of the ad'ertisement 'ary
from one )obser'er+ to another this study su((ests one of the possible interpretations of
the ad'ertisement for !'di 12 and demonstrates ho" the chronotopic analysis of an
)intra,textual+ "orld can be conducted for print ad'ertisin(&
5n the ad'ertisement one sees a youn( "oman "ho has stopped on the *ebra,crossin(
to look at a car "hich stands out a(ainst the back(round of the pale en'ironment& But
because the do(+s leash is stretched one may assume that the do( stopped on the *ebra,
crossin( to look at the car- slo"in( do"n the mo'ement of its o"ner& 5t is hard to
determine if the do( is fascinated by the appearance of the car- an(ry- threatened- or
ready to challen(e the car and protect its o"ner& The pedestrians ha'e to cross the road
and let the car pass but all three fi(ures are )fro*en+ in a moment before they "ill proceed
11
on their "ays& This moment in the ad'ertisin( narrati'e represents the motif of meetin(
or the motif of sudden encounter& 5n this ad'ertisement the motif of meetin( is depicted in
the form of *ebra crossin( and can be characteri*ed by unexpected encounter- a chance
meetin( of the "oman and the do( "ith the car& The chronotope of the ad'ertisement has
been re'ealed by o'erlappin( its plot and story&
5t is interestin( to compare the presented story "ith the story created by the creators of
this ad'ertisement (al"ays rememberin( that the readers are the co,authors of the
ad'ertisin( messa(e)& The follo"in( extract is taken from the letter of one of the creators
of the ad'ertisement for !'di 12-
The creati'e mechanism applied to these executions "as the extreme conse%uence so the car is
bold- beautiful and charmin( that all the rest Ko Nale& The do( is only to humani*e and addin( a touch
of irony- in a 'ery stylish and fashion treatment&
The prota(onists "ere only the car- the "oman and the do(- because "e didn+t "ant to lose
concentration on the messa(e& The car is the only prota(onist "ith a bit different colour- Iust for
underlinin( a(ain the main prota(onist&
The style of the "oman "as 'ery "ell desi(ned- because :udi is a brand for desi(n lo'ers- if you
look at this ad from a (raphical point of 'ie" it is clean and cool like an ipod or most of the modern
desi(n& [! (Aicky Kitto 8>>3- Kroup 6xecuti'e 0reati'e @irector- @@B 5taly- personal
communication- 89 @ecember- 8>>3)&
The modern dimension of time and space defines the ad'ertisin( character# a stylish-
fashionable- modern person& The chronotope of meetin(- "hich is or(ani*ed by the
intersection of modern time and space- possesses ne" meanin(# it is an encounter "ith an
inanimate obIect- "ith a commodity& The particularity of this motif (meetin( "ith a
commodity) "ithin the consumer+s narrati'e defines the ad'ertisin( chronotope& The
ad'ertisin( chronotope also pro'ides a means to examine the relation bet"een
chronotopes of )intra,textual+ and )extra,textual+ "orlds& $ol%uist (199>) "rites that
literary chronotopes are hi(hly sensiti'e to historical chan(e (p& 118) and the same
statement is applicable to ad'ertisin( text& The ad'ertisement for !'di 12 indicates the
importance of the chronotope of *ebra crossin(s in metropolitan areas in modern times&
The di'ision bet"een the chronotopes of )intra,textual+ and )extra,textual+ "orlds is
theoretical- in fact- they are intert"ined and there is no clear borderline bet"een them&
The next passa(es demonstrate the relationship bet"een the )intra,textual+ and )extra,
textual+ "orlds usin( the example of the ad'ertisement for !'di 12& :s mentioned- the
chronotope can ser'e as a )"ide,an(le lens+ for re'ealin( the relation of the
18
ad'ertisement to historical timeEspace& The ad'ertisement for !'di 12 refers us back to
the late nineteenth century milieu by establishin( connection "ith :nton 0hekho'+s story
"ady (ith the Dog (1399) and Fosef $eifet*+s film "ith the same name (1949)& These
intertextual layers allo" one to reco(ni*e in the ad'ertisement the lo'e story of t"o
people "ho met by chance# the youn( "oman and presumably the person in the car& Lf
cause- the modern settin( of the ad'ertisement for !'di 12 does not e'oke the dramatic
and nostal(ic feelin(s of the story "ady (ith the Dog# but there is the same timelessness
(B*o(yi 1924) and stillness as in the $eifet* film- the same feelin( of the isolation of t"o
lo'ers from the rest of the "orld (Norter 1911)& The modern settin( of the ad'ertisement
for !'di 12 attempts to e'oke not the dramatic feelin(s of loss and nostal(ia& The
fashionable en'ironment of the street is an artistic representation of the chronotope of
)intra,textual+ "orld# it is the threshold "ithin the ad'ertisin( narrati'e "here the chan(e
is (oin( to happen after meetin( "ith the product& But in a broader sense- it is the
threshold "ithin the narrati'e of a human life "here the chan(e is expected to happen
from )5+ to- "hat Belk et al& (1992) refer to- as the myself,that,could,be (cited in
.aclaran and Bte'ens 1993- p& 114) or- better- the )enchanted- extended- en(ulfed+ )self+
(Belk 1993- p& 41)&
The "ay the ad'ertisin( narrati'e is interpreted depends on ho" one percei'es
timeEspace& Lne+s perception of timeEspace is dictated by ideolo(ies and 'alues that
dominate the certain point "hich is occupied by an )obser'er+&
The Chronotope and The Advertising !deology
:ny specific representation of timeEspace encapsulates in itself certain ideolo(ies&
@eltche'a and Alaso' (1991) deploy this ar(ument by tracin( the correspondence
bet"een Btanisla" 9em+s no'el- 3olaris (1921)- and :ndrei Tarko'sky+s film 'ersion of
it (1918)& Their study illustrates ho" the differences bet"een the personal ideolo(ies of
Tarko'sky and 9em are apparent in different constructions of timeEspace matrices in
Tarko'sky+s film and in 9em+s no'el& 9em has been displeased "ith Tarko'sky+s
interpretation of his no'el and e'en "anted to discontinue his participation in the proIect&
9em+s thinkin(- brin(in( attention on the )limitations of human kno"led(e+ differs from
1<
Tarko'sky+s more )uni'ersal humanitarian+ philosophy (@eltche'a and Alaso' 1991- p&
4<8)& These differences demand different temporal and spatial or(ani*ation&
The o'erall plot traces Oel'inJs mo'ement from outer space to the station- and from there to the ocean
of Bolaris& The mo'ement aims at reinforcin( "hat Fohnson and Netrie [1994! define as a criti%ue of
anthropocentric thinkin(- focusin( on the limitations of human kno"led(e and the human intellect& & &
the main theme is OrisJs reali*ation that the human 'alues "e cherish- such as lo'e- ha'e no
si(nificance or meanin( in a uni'erse that is probably or(ani*ed alon( principles that "e can ne'er
e'en be(in to understand [pp& 1>1,1>8!& The maIor de'iation Tarko'sky undertakes in his film
consists of a principal shift in the o'erall intention of the narrati'e prompted by the firm belief that
lo'e and human emotion ha'e a primary meanin( in the uni'erse& The director- "ho also co,authored
the script "ith =riedrich Korenstein- radically chan(es the spatial directionality of the plot
de'elopment& 5nstead of the unidirectional model employed by 9em H from outer space to the ocean-
'ia the station H Tarko'sky introduces a rin( composition (@eltche'a and Alaso' 1991- p& 4<<)&
5n the same "ay- ad'ertisin( uses the timeEspace matrix to con'ey certain messa(es and
represent specific ideolo(ies& :d'ertisin( functions under the modern time hori*on set by
capitalism "ith its la"s of market exchan(e and economic calculation& The =rench
historian 9eKoff characteri*es this time hori*on as the )time of traders+ "hich replaced
)Kod+s time+ (cited in 7oberts 8>>1- p& <<1)& 6conomists of this modern capitalist system
accept the Oeynesian "ell,kno"n phrase that in the lon( run "e are all dead and that
the short,run is the only reasonable time hori*on o'er "hich to operationali*e economic
and politic decisions ($ar'ey 199>- p& 48>)& The eternal- unlimited time of Kod has been
substituted by the short,run- limited time under the ideolo(y of capitalism "here
production and consumption ha'e become the basis of economy& /ithin this ideolo(y-
)youth+ holds an important place- (ainin( additional 'alue as the most producti'e-
ener(etic and consumption,oriented period of human existence& 5f life,time is percei'ed
as limited- then )youth+ becomes an important part of life durin( "hich an indi'idual and
society spends its time for the thin(s that are considered important "ithin the frame of
capitalist ideolo(y- that is- production and consumption&
7eturnin( to the example of ambient ad'ertisin(- discussed abo'e- one can see that
based on the ideolo(y of capitalism- ad'ertisin( reproduces its concept of the short,run-
limited time hori*on& :ccordin( to this time hori*on any space (bus- *ebra crossin(- toilet
or cafV) at any point of time can be utili*ed for promotin( the cycle of production and
consumption& :d'ertisin( exploits the timeEspace matrix in its o"n purposes turnin( it
into the timeEspace matrix of consumption& =or example- in the case of the ad'ertisement
for the "rist "atch- examined abo'e- the handle "hich may play an important role in the
14
passen(er+s destiny in a case of accident is used as an ad'ertisin( medium& Thus-
ad'ertisin( transforms the 'arious chronotopes of "ork- entertainment- leisure- etc& into
the chronotopes of consumptionEproduction cycle&
9ookin( at the ima(e of a youn( "oman "ithin the public sphere- one can see in the
ad'ertisement for !'di 12 the reflection of capitalist ideolo(y "ithin "hich "oman is
identified as one of the primary consumers of /estern society& The ad'ertisement for the
!'di 12 tries to use the principles of popular feminism to promote the capitalist system
by portrayin( an ima(e of a youn( "oman in an expensi'e ele(ant raincoat in the )elite+
district in an attempt to create an ima(e of the "oman in po"er& The timeEspace matrix
represented in the ad'ertisement attempts to reflect the timeEspace matrix as percei'ed
"ithin the frame of feminist ideolo(y& Thus- analy*in( the artistic representation of the
timeEspace matrix "ithin the ad'ertisin( narrati'e- one can distin(uish the ideolo(y that
has determined a specific perception of time and space& Buch strate(ies- as 7ifkin (8>>>)
has pointed out are- particularly appealin( tar(ets for expropriation by marketers (p&
114)#
6n'ironmental issues- feminism concerns- human ri(hts ad'ocacy- and social Iustice causes are themes
that ha'e found their "ay into marketin( campai(ns& By identifyin( products and ser'ices "ith
contro'ersial cultural issues- companies e'oke the rebellious antiestablishment spirit in their customers
and make the purchases stand for symbolic act of personal commitment to the causes they in'oke
(ibid)&
: feminist perception of the timeEspace matrix can be described (in a broader social
context) as the timeEspace matrix of "oman e%ually po"erful to man&
To illustrate this supposition this study pro'ides the comparati'e analysis bet"een t"o
ad'ertisements that ha'e been created "ithin the frame of differin( ideolo(ies& The
aforementioned ad'ertisement for !'di 12 has been produced in 8>>1 "ithin the
conditions of the capitalist system "hile the ad'ertisement for Eiette "as created in the
192>s durin( the period of communism in the Bo'iet ;nion (=i(ure 5A)& Eliette "as
manufactured for export to :ustria and Bel(ium& Lb'iously- the print ad'ertisement has
been de'eloped for forei(n citi*ens as there "as no need to ad'ertise cars to the Bo'iet
;nion citi*ens# the demand there "as si(nificantly exceedin( supply& Cet- further
discussion "ill sho" ho" the artistic representation of the timeEspace matrix in this
ad'ertisement reflects the 'alues of the communist ideolo(y& 5n the ad'ertisement for
Eliette one can trace the same theme# the youn( attracti'e "oman- the do( and the car& 5n
14
spite of the participation of the same characters there is no motif of sudden encounter? on
the contrary- the youn( "oman seems to be certain about her choice& The obser'er+s
feelin( that the purchase has been planned is reinforced by the youn( "oman+s (esture#
her hand is restin( on the hood of the car& The se%uence of planned actions oriented to the
)bri(ht future+ (svetloe )'d'shhee# 4567896 :;<;=66) in this ad'ertisement can be
contrasted "ith the possibility of chan(e from )5+ to the )myself,that,could,be+ )no"+- in
the present moment promised by the ad'ertisement for !'di 12& The analysis of the
artistic representations of chronotopes in these t"o ad'ertisements brin(s to li(ht t"o
extremes# the limited time of the capitalist system and the communist time hori*on
focused on a )bri(ht future+ in the infinite distance& 5n the Bo'iet ;nion- the illusion that
the )beautiful remote future+ could be mo'ed closer "as created by so,called )fi'e,year
plans+ (pyatiletka# >?7@867AB) "hich "ould usually be )successfully completed+ in- for
example- three,to,four years& This concept of s%uee*in( time is reproduced in the
ad'ertisement for Eliette there is a strict plan- time for buyin( a do(- dress- car- etc&
The specific construction of space contributes to the construction of the ideolo(ical
matrix of the ad'ertisements& 5n the ad'ertisement for Eliette the car is also situated in the
road as in the ad'ertisement for !'di 12# but this road is surrounded by (reen trees "hich
one can see at the back(round of the ad'ertisement& This element is "hat could brin( the
spatiotemporal parameters closer to the idyllic chronotope& /hat stops one from doin( so
is its temporal dimension& The motion of time in the ad'ertisin( narrati'e is represented
as a 'ector follo"in( historical pro(ress (@eltche'a and Alaso' 1991- p& 1)- "hile- for
Bakhtin (1994)- the or(anic time in the idyllic chronotope is cyclic& The asphalted road
"ithin the natural en'ironment symboli*es the po"er of industriali*ation o'er nature& The
construction of the back(round in both ad'ertisements is oriented to"ard the display of
industrial and technolo(ical achie'ements and the pro(ress of capitalist (!'di 12) and
communist (Eliette) systems& /hat brin(s the human touch in both ad'ertisements is-
ironically- the ima(e of the do(& :s Aicky Kitto (8>>3) explains the do( is embedded into
the ad'ertisin( narrati'e to humani*e the ad'ertisement and to [add! a touch of irony) in
a 'ery stylish and fashion treatment& 5ndeed- althou(h introduction of the do( brin(s the
'ie"er closer to nature this feelin( (ets suppressed by seein( that the do( is on a leash H
the symbolic representation of humankind+s desire to master nature& Lne can percei'e
12
this element as connectin( the t"o spaces "hich represent the t"o different- but in certain
point con'er(in(- ideolo(ies&
This example of the analysis of the t"o ad'ertisements demonstrates ho" the
timeEspace matrix of ad'ertisin( narrati'es is shaped by particular ideolo(ies&
Concl$sion
The chronotope can be used as a )*oom lens+ for conductin( analyses of the )intra,
textual "orld+ and as a )"ide,an(le lens+ for examinin( the )extra,textual "orld+& 5n this
study the chronotope has ser'ed as a )*oom lens+ for re'ealin( the artistic si(nificance of
the ad'ertisin( chronotope "ithin the ambient and print ad'ertisin(& 5t ser'ed as a )"ide,
an(le lens+ for analysin( the relation of the ad'ertisin( chronotope to the )real,life+
chronotopes and for analysin( the ideolo(y imbedded "ithin ad'ertisin( narrati'e& The
study has also su((ested that the advertising chronotope can )e characteri-ed as
(here.(hen the advertising message )ecomes an event in the vie(ers narrative and so
/materiali-ing the advertising message (ithin the space.time matrix0
The ad'ertisin( chronotope has representati'e and artistic si(nificance as it makes an
e'ent "ithin ad'ertisin( narrati'e to become )materiali*ed+& The function of the
ad'ertisin( chronotopes of )intra,textual "orld+ can be defined as a force that (i'es body-
(i'es flesh and blood (Bakhtin 1994- p& 84>) to an e'ent "ithin ad'ertisin( narrati'e&
The notions that ad'ertisers try to con'ey become concrete once they become embedded
"ithin a certain timeEspace matrices& Buch is the representational si(nificance (Bakhtin
1994- p& 84>) of the ad'ertisin( chronotope& Because of this representational and artistic
si(nificance chronotope becomes a useful tool for ad'ertisin( strate(y& /hat is more- the
chronotope becomes a useful tool for analysin( the ad'ertisin( ideolo(y because it is
ideolo(y that creates a specific 'ie" of time and space&
This study has re'ealed the chronotope of )intra,textual "orld+ by identifyin( the plot
and the story of the particular ad'ertisement and demonstrated its artistic si(nificance& 5t
has also sho"n ho" the chronotope of )extra,textual "orld+ can ser'e as a )"ide,an(le
lens+ for a )broader social and historical+ analysis usin( the example discussed by Bro"n
11
(1993) and .aclaran and Bte'ens (1993)& But it has not addressed the issue of the
peculiarities of chronotopes in different societies and periods of time both in )intra,
textual+ and )extra,textual+ "orld and ho" 'arious motifs and chronotopes "hich are
represented in ad'ertisin( texts define the ad'ertisin( characters& The "ay of percei'in(
time has effect on the "ay the plot and the story unfold& This is "hy the analysis of the
context in "hich the ad'ertisin( story unfolds is important for in'esti(ation&
This research analy*ed the examples of the print and ambient ad'ertisin(& 5t "ould be
of interest to find out ho" ad'ertisin( chronotopes are created "ithin other types of
ad'ertisin( "hich "ere not examined in this study and ho" the ad'ertisin( medium
influences the nature of the ad'ertisin( chronotope& 5ndeed- the chronotope of the *ebra
crossin( "ithin ambient ad'ertisin( differs from the same chronotope "ithin print
ad'ertisin(& 5n this case- the difference is basically defined by the role that 'ie"ers play
"ithin ambient ad'ertisin(# they become )direct+ characters of ambient ad'ertisin(&
:mbient ad'ertisin( exploits the )real,life+ chronotope- the chronotope of )public+ space-
thus- the chronotope )"ithin+ and )outside+ the text become fused&
:s the literary chronotope to a si(nificant de(ree defines the ima(e of a person in
literature- the ad'ertisin( chronotope defines the ima(e of a consumer as it has been
indicated in the example of the ambient ad'ertisin( "hich makes use of )extra,textual+
chronotopes& Thus- analysis of ad'ertisin( chronotopes could pro'ide additional
information about consumers&
13
*ig$re !
:ntismokin( 0ampai(n
7etrie'ed [Uo'ember 9- 8>>1! from the /orld /ide /eb#
Whttp#EEin'entorspot&comEarticlesEstopXsmokin(Xin'enti'eXmarketin(X2>11Y
19
*ig$re !!
:d'ertisement for ICC
7etrie'ed [Uo'ember 9- 8>>1! from the /orld /ide /eb#
Whttp#EE"""&seaspace&cnEim(X1EseaspaceX>2>284X9&Ip(Y
*ig$re !!!
:d'ertisement for !'di 12
7etrie'ed [Uo'ember 83- 8>>3! from the /orld /ide /eb#
+http#EE"""&stephen(ates&comEBlo(EuploadedXima(esEaudiXthrill1,133921&Ip(Y
8>
*ig$re !,
:d'ertisement for Eliette
7etrie'ed [Lctober 3- 8>>9! from the /orld /ide /eb#
+http#EEle(ko&beEima(esEstoriesEautoE1>28Xle(ko&beZ8>(1)&Ip(Y
81
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lY
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Whttp#EE"""&Istor&or(EstableE842<281Y
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13& .aclaran- N& and Bte'ens- 9& (1993) 7omancin( the ;topian .arketplace-
@allyin( "ith Bakhtin in the No"ercourt To"nhouse 0entre in Domancing the
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