Bakhtin's spatio-temporal body refers to "the important relationship between time and space relations that have been artistically grasped in literature." There are three relatively stable types of spatio-temporal bodies—legendary novels; legendary secular novels; and ancient novels. Rome's biography and autobiography "Journey to the West" is also a film that highlights time and space. It tells the story of people's love and destiny, accompanied by time and space intertwined and dislocated. We use Bakhtin's first two novel types of space-time theories to try to analyze the relationship between the time-space structure of the classic film "Journey to the West" and see what enlightenment and mystery there are.
(1) The spatiotemporal characteristics of the famous teaching novels in "Journey to the West" The first feature is the appearance of biographical time. Opportunity changes the plot but does not affect the biographical time of two o'clock. The time-space features of the legendary teaching novels are manifested in the whole story structure of "Westward Journey to the West". We knew from the very beginning that the supreme treasure must be Sun Wukong, and even if he was reborn, he would still have to take the road of protecting Tang Seng's Buddhist scriptures. From the previous Wukong reincarnation to becoming the Supreme Treasure, then from the Supreme Treasure Statue to having a dream of Nanke, and then following the Tang monk to study the scriptures in the west, this kind of fate arrangement has become a big framework, and the story of the Supreme Treasure and Bai Jingjing, or Zixia Fairy, can not change. Sun Wukong's stealing The moonlight treasure box becomes the reincarnation of the supreme treasure, and the supreme treasure uses the moonlight treasure box to become the Monkey King.
The linear destiny, all kinds of love, and all kinds of twists and turns are just like in the Greek novel; "the starting point of the plot and the ending point of the plot, unfold." The whole plot of the novel These two points are the most significant events in the protagonist's life, and they have biographical significance in and of themselves. The gaps, pauses, and blanks that appear between these two immediately adjacent biographical time points cannot enter the sequence of biographical time, but must remain outside of it. In "Journey to the West", the ending of Sun Wukong's journey with Tang Monk to study scriptures has not changed; everything that happened is just a "surreal blank". For Wukong, this cannot but be regarded as a kind of sadness. The second feature is that the objective and concrete time in realistic novels has been diluted, the actual space has been abstracted and generalized, and unfamiliar scenes abound. In terms of the dilution of time, the Supreme Treasure returned to five hundred years later, and the Supreme Treasure was still the Supreme Treasure, just as young and unrestrained.
The author also subtly made the magician's supreme treasure not a human but an immortal, to make this fantastic color seem natural; in terms of the abstraction of space, Lian Shuixing and Shen Wei believed that "Westward Journey to the West" created a "Western Journey." A very open carnival square. " But this is all about carnivalization. Going back to the theory of space-time body, we can see that the scenes in the story have generalized and abstract characteristics. met the banshee, and then went through the small town, the desert, the market, etc., and met the old demon of Montenegro, the Zixia Fairy, and the Bull Demon King. The scenes of the story can be replaced. It doesn't matter which town or desert, as long as you can meet the key people, the whole plot can develop smoothly. Bakhtin previously stated in "The Theory of the Novel" that "all legends are transferable: what happened in Babylon can also occur in Egypt or Byzantium, and vice versa." The events of this place depend entirely on chance, that is to say, on the contingent simultaneity and synchronicity in this space (in this country or city, etc.). As for the nature of this place, it does not constitute the location described in the legend; it is just an abstract and rough empty place. " And we can also see the application of "defamiliarization" everywhere in the film, such as when the Supreme Treasure enters the two demons and the bull demon king sister In the room, after being taken back to the cave by Chun Shisanniang, the incomparably novel look in his eyes told us that he was unfamiliar with all this, and that he was not familiar with the prophetic dream scene that he always had. It expresses his helplessness by saying, "Hey, where am I?"
(2) "Western Journey to the West" and the legendary secular novel "Western Journey to the West" not only have the characteristics of the legendary teaching novel, but also have the legendary The characteristics of secular novels If it is said that the entire plot development, the entire framework shows the characteristics of time and space in the legendary teaching novels, then we can think that the character image of the supreme treasure can be seen in the legendary secular novels. The time-space characteristics of the body were imprinted on him. The first feature is that each "opportunistic" time point is extremely important. Bakhtin believes that "this kind of time must leave a deep and indelible mark on the person and his entire life." We see the perfection of his character at the point of time in the Supreme Treasure. The former Supreme Bao is a street gangster who likes to escape, but after becoming Sun Wukong, the Supreme Treasure has completed his own shaping, understood what must be discarded, and also assumed his own responsibilities.
From Supreme Treasure's perspective, he has transformed with "opportunity." If he hadn't met Old Ancestor Bodhi, he wouldn't be wary of the two banshees; if Zixia hadn't left a tear in the heart of the Supreme Treasure at that time, the Supreme Treasure would not understand what love and responsibility were when Zixia died; at the moment when the Supreme Treasure is guided by Guanyin after his death, the Supreme Treasure will not quickly mature and see through the world, and understand his mission and the meaning of life. Every one of these "opportunities" is extremely invasive to the character of the Supreme Treasure, and they make the Supreme Treasure undergo a deep-rooted transformation. The second is that the protagonist has to go through events beyond everyday life. "As for daily life, The protagonist just observes this life and occasionally breaks into it as an alien force. The protagonist himself has experienced extraordinary events beyond daily life, and these events are determined by the sequence of fault-revenge-redemption-happiness. The Supreme Treasure saw that the market-goers gathered on the outskirts of the city to sleep. I saw Bai Jingjing and Chun Shisanniang doing the tofu business in their daily lives, but what the Supreme Treasure experienced was an "extraordinary event beyond everyday life".
He met the banshee Bai Jingjing and fell in love with her; he found a moonlight treasure box that could go back to the past; he met the woman who was Zixia by day and Qingxia at night and miraculously pulled out Fairy Zixia's purple Qing Baojian; in the end, he never imagined that he would be Sun Wukong. Although he repeatedly avoided the fact, in the end he became Sun Wukong and fought against the Bull Demon King. Everything he has experienced, including falling in love with fairies and immortals, meeting the monster, becoming Monkey King, is not a mortal life but an "extraordinary event beyond everyday life". And this kind of "extreme incident" goes back to the past along the way that Supreme Treasure regrets not taking medicine to Bai Jingjing earlier, to the revenge of meeting Zixia and Zixia getting angry and marrying the Bull Demon King, and then to Supreme Treasure wearing a curse to become Monkey King to atone for the crime of disrespect to his master, and finally he helps the couples who are struggling on the city wall to win happiness and other "fault-revenge-atonement-happ
(3) ConclusionThe two types of novels have different space-time types, and the difference lies in whether the point of chance has an impact on the fate of the characters between the two legendary time points. If there is no one, it is the time-space body of the legendary teaching novel; if there is, it is the time-space body of the legendary secular novel. In "Journey to the West", we see that both are involved—in the background of the entire story and the inevitable fate of the characters, the Supreme Treasure has a "predetermined" fate, and this fate will not be affected by every event in his life. In terms of the perfection of the character's own character, the Supreme Treasure is controlled by "opportunity," and it is because of "opportunity" that he matures through experience.
Therefore, we conclude that in "Journey to the West", everything is an accident of "meeting," but this "accident" pushes forward the originally needed ending. The Supreme Treasure is bound to become the Monkey King, but he meets and loses love in "Chance". This is more like a person who broke free and then was firmly imprisoned by the gears of fate. Isn't this a deeper sadness?In today's society, the time and space that carry the fate of each of us is not like the two time and space bodies carried on this "Westward Journey". All myths and classics are a reflection of our own identity, and all stories are stories about us. Is it based on the fate line that has been established between us from birth to death, or can we rely on ourselves as "Opportunity" to carry out the change of "my destiny is up to me?" Where is your destiny under the magic of time and space? I believe that no one can figure it out, maybe not even God.
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