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From Midnight to Broad Daylight: The constructive capabilities of techno and
Unformatted Document Text:  From Midnight to Broad Daylight 7 forms. Specifically referring to literature, Bakhtin argues that "space becomes charged and responsive to the movements of time, plot and history" (1981, p. 84). While he makes the conscious choice not to make use of the chronotope in other areas of culture, the term is equally useful when discussing the arena of living art, in this case the world of raves and EDM festivals. Likewise, his praise of Rabelais’ descriptions of carnival in the 16 th century can help us understand the ways in which alternate spaces can function as sites of struggle, drawing attention to the situation’s unique characteristics and symbols. Bakhtin describes the essence of carnival as a special condition of the world’s revival and renewal (1984, Rabelais and His World, p. 7). It is a particularly appropriate model for the study of rave culture and EDM because of its emphasis on the intricate interactions that take place between performers and audiences that are essential to the creation of the environment. Finally, I make use of some of the key terms Bakhtin uses when writing about language and the discourse of texts. Establishing an awareness of the differences between monologic and polyphonic texts is helpful when addressing commodification, which is one of the central distinguishing tenets of underground or subcultural creations and practices. "Monologism, at its extreme, denies the existence outside itself of another consciousness with equal rights and equal responsibilities, another I with equal rights (thou) (Problems of Dostoevsky’s Poetics, 1984, p. 63). In assessing Dostoevsky’s poetics Bakhtin presents the notion of polyphony. He praises Dostoevsky’s work as the first polyphonic novel, whereby the polyphonic is a "fully realized and thoroughly consistent dialogic position, one that affirms the independence, internal freedom, unfinalizability, and indeterminacy of the hero" (Problems of Dostoevsky’s Poetics, 1984, p. 63). These terms are useful in discussing commercialization and the extent to which products and creations of the underground and mainstream are examples of monologic and polyphonic texts.

Authors: Farrugia, Rebekah.
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From Midnight to Broad Daylight
7
forms. Specifically referring to literature, Bakhtin argues that "space becomes charged and
responsive to the movements of time, plot and history" (1981, p. 84). While he makes the
conscious choice not to make use of the chronotope in other areas of culture, the term is equally
useful when discussing the arena of living art, in this case the world of raves and EDM festivals.
Likewise, his praise of Rabelais’ descriptions of carnival in the 16
th
century can help us
understand the ways in which alternate spaces can function as sites of struggle, drawing attention
to the situation’s unique characteristics and symbols. Bakhtin describes the essence of carnival
as a special condition of the world’s revival and renewal (1984, Rabelais and His World, p. 7). It
is a particularly appropriate model for the study of rave culture and EDM because of its emphasis
on the intricate interactions that take place between performers and audiences that are essential to
the creation of the environment.
Finally, I make use of some of the key terms Bakhtin uses when writing about language
and the discourse of texts. Establishing an awareness of the differences between monologic and
polyphonic texts is helpful when addressing commodification, which is one of the central
distinguishing tenets of underground or subcultural creations and practices. "Monologism, at its
extreme, denies the existence outside itself of another consciousness with equal rights and equal
responsibilities, another I with equal rights (thou) (Problems of Dostoevsky’s Poetics, 1984, p.
63). In assessing Dostoevsky’s poetics Bakhtin presents the notion of polyphony. He praises
Dostoevsky’s work as the first polyphonic novel, whereby the polyphonic is a "fully realized and
thoroughly consistent dialogic position, one that affirms the independence, internal freedom,
unfinalizability, and indeterminacy of the hero" (Problems of Dostoevsky’s Poetics, 1984, p. 63).
These terms are useful in discussing commercialization and the extent to which products and
creations of the underground and mainstream are examples of monologic and polyphonic texts.


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