anachrony


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a·nach·ro·ny

 (ə-năk′rə-nē)
n.
Discrepancy between the chronological order of events and the order in which they are related in a plot.


an′a·chron′ic (ăn′ə-krŏn′ĭk) adj.
Translations
References in periodicals archive ?
A lot of narratological terms are used, such as "discourse, story, frame, sequence, embedding, narrative gap, temporal order, Genette's model on anachrony and diegesis"; moreover, the great figures in the narratological field, like Genette, Mieke Bal, Herman, Prince, Todorov, are almost unexceptionally quoted.
anachrony" for which historicist scholarship is quite unable to
The language of this opening passage also employs anachrony in the past perfect "had believed" and the adverbial of "then," which strongly implies from the outset that conversion to belief touched not only Sarah, but also Bendrix.
Typically modernist for refusing "the explanatory power of linear narrative" (Abbott 2010, 6), his anachrony is also unusual for being mimetic, though not, as in Proust, mimetic of memory's fluidity; instead it mimics a model of development Huxley adapted from contemporary biological research, much of it by his brother Julian, on frogs and salamanders.
As Jacques Derrida (1995, 94) emphasises, khora does not bring about change in time but gives "the anachrony in being." It "anachronizes being." That is to say, the state itself is subject to change, irregularly and necessarily so, because it too is in motion and subject to inescapable motion.
As one of the forms of anachrony discussed in his chapter on narrative order, Genette coins the term prolepsis to describe "any narrative maneuver that consists of narrating or evoking in advance an event that will take place later" (40).
PHILOSOPHICAL AESTHETIC AND DOCUMENTARY FILM: ANACHRONY AND UCHRONY ON HEGEL
The presentist anachrony of juxtaposing a passage from Utopia with a twenty-first century television drama exposes the way in which the terms of their justifications are almost exactly alike.
It de-synchronizes, it recalls us to anachrony" (Specters of Marx 6).
Importantly, in the foregoing passage, "an-arche" designates the temporal mode of the trace (i.e., the immemorial), which, in turn, refers to the irrecuperable (to synchrony) and irrevocable temporality of the Other (that is, diachrony and anachrony), postulated as such to establish the Other and the relationship to him/her as untotalizable, unrepresentable, and unmediated by ideality and the universal.
To see how this happens, we must return to the anachrony discussed above, to the break at the level of narration that occurs at the moment of Kohlhaas's turn to violence, but which only comes to the reader's attention after this violence has been unleashed and has thereafter repeatedly resisted attempts to contain it.
(5.) Genette defines an anachrony as "various types of