Dialogism Versus Monologism: a Bakhtinian Approach to Teaching
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The Bakhtin Circle and Ancient Narrative
The limits of polyphony: Dostoevsky to Petronius MARIA PLAZA Stockholm University In times when a theorist grows as authoritative as the Russian thinker Mikh- ail Mikhailovich Bakhtin has grown today, his theories are sometimes hastily applied to more texts than they can usefully explain. While the rereading, and possibly reconception, of the Roman novel in the light of his ideas on the novelistic genre is certainly a most important and exciting project, there may be a risk of overstatement. My aim in this paper, therefore, is to suggest an answer to the question of whether Petronius’ Satyrica can be said to be a “polyphonic novel” in Bakhtin’s sense.1 The concept of “polyphony” is fully developed in Bakhtin’s book Prob- lems in Dostoevsky’s Poetics,2 although there are discussions of the related categories “dialogism” and “heteroglossia” in his important essays of the 1930’s.3 It should be noted, however, that “heteroglossia” is not equivalent to polyphony: it implies a diversity of speech styles in a language, some- times with the further requirement that the styles should reflect and inter- penetrate each other; while polyphony always requires an interpenetration of ————— 1 It is not my aim to offer an exhaustive analysis; rather, I hope to present some examples and general arguments for my suggested solution, in order to make a modest contribution to an ongoing debate about Bakhtin and the classics. 2 The first edition of this work, entitled Problemy tvorchestva Dostoevskogo [Problems of Dostoevsky’s creative art], appeared in 1929, and was a much narrower discussion than the influential second edition of 1963. -
Mikhail Bakhtin and Discourse on Genre Novel
Int.J.Eng.Lang.Lit&Trans.StudiesINTERNATIONAL JOURNAL OF ENGLISH LANGUAGE, Vol. LITERATURE3.Issue. 1.2016 (Jan-Mar) AND TRANSLATION STUDIES (IJELR) A QUARTERLY, INDEXED, REFEREED AND PEER REVIEWED OPEN ACCESS INTERNATIONAL JOURNAL http://www.ijelr.in KY PUBLICATIONS RESEARCH ARTICLE Vol. 3. Issue 1.,2016 (Jan-Mar. ) MIKHAIL BAKHTIN AND DISCOURSE ON GENRE NOVEL NIYATI KABTHIYAL1, Prof. SUREKHA DANGWAL2 1Ph.D. Research Scholar, Dept. of English & MEOFL, HNBGU, Srinagar Garhwal 2Dept. of English & MEOFL, HNBGU, Srinagar Garhwal ABSTRACT In Western tradition, Socrates frequently employed a method of dialogue in argumentation, which allowed dramatic clash of juxtaposed points of view punctuated by the final word of a single person (interlocutor); and that mode of interaction came to acquire after him the name "Socratic dialogue". His disciple Plato further developed this many-voiced mode in writing, also known as Platonic dialogue; the master piece of which we have in the Republic, manifesting outstanding success of the mode. The ancient practice attracted the attention of Russian formalist and genre theorist, Mikhail Bakhtin, and he used the concept while theorizing his views on the stylistic mode of the new novelistic (artistic-prose) genres vis-à-vis high poetic genres (epic, dramatic, lyric). Bakhtin located in the Socratic dialogues one of the earliest forms of what he termed variously in the novel: heteroglossia and dialogism Kristeva is later believed to have rechristianed these antecedent concepts as intertextuality (Worton & Judith Still 3). The basic property of any discourse Bakhtin locates in dialogic orientation. He perceives dialogism as pervading not only the internal dialogism of the word, but stretching beyond to cover the entire compositional structure of a discourse (Leitch 1091). -
Grotesque Anatomies: Menippean Satire Since the Renaissance
Grotesque Anatomies Grotesque Anatomies: Menippean Satire since the Renaissance By David Musgrave Grotesque Anatomies: Menippean Satire since the Renaissance, by David Musgrave This book first published 2014 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2014 by David Musgrave All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-5677-0, ISBN (13): 978-1-4438-5677-5 TABLE OF CONTENTS Preface ........................................................................................................ vi Chapter One ................................................................................................. 1 Introduction: Menippean Satire and the Grotesque Chapter Two .............................................................................................. 40 Grotesque Transformation in Salman Rushdie’s Midnight’s Children: The Nose in Menippean Satire Chapter Three ............................................................................................ 64 Grotesque Association in Thomas de Quincey’s Confessions of an English Opium Eater and Thomas Love Peacock’s Gryll Grange: Utterance, Surdity and the Ruminant Stomach Chapter Four ............................................................................................. -
Introduction. the Polyphonic World of Cervantes and Dostoevsky
Marshall University Marshall Digital Scholar Modern Languages Faculty Research Modern Languages 2017 Introduction. The olP yphonic World of Cervantes and Dostoevsky Slav N. Gratchev PhD Marshall University, [email protected] Follow this and additional works at: http://mds.marshall.edu/languages_faculty Part of the Modern Languages Commons Recommended Citation Gratchev, Slav. "Introduction." In The oP lyphonic World of Cervantes and Dostoevsky, by Slav Gratchev, xi-xxiii. Lanham, MD: Lexington Books, 2017. This Article is brought to you for free and open access by the Modern Languages at Marshall Digital Scholar. It has been accepted for inclusion in Modern Languages Faculty Research by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. LITERARY STUDIES | COMPARATIVE LITERATURE T he P olyphonic The Polyphonic World of Cervantes and Dostoevsky is the first scholarly at- tempt to examine Don Quixote from the angle of dialogism and polyphony. Although Mikhail Bakhtin considered Dostoevsky the “creator of a poly- phonic novel,” Slav N. Gratchev believes that the first elements of polyphony W can be observed in Cervantes’s Don Quixote. A preliminary objective will there- orld of fore be to articulate—without reducing the role of Dostoevsky in the creation of the polyphonic novel and relying on Bakhtin’s interpretation of polyphony, C heteroglossia, and multivoicedness—that the polyphonic structure appeared ervantes and and evolved to a state of relative maturity centuries before Dostoevsky. This book subsequently explores how and why the polyphonic structure was born within the classic monophonic structure of Don Quixote, the ways in which this new structure positioned itself in relation to the classic monophonic one, and what relations it may be said to have established with it resulting in a D unique amalgam—the hybrid semi-polyphonic novel. -
Polyphony in Dostoevsky's NOVELS and the Multiplicity
Colloquia Litteraria UKSW 4/2017 Ewangelina Skalińska POLYphonY in DostoevskY’S Novels anD the MultiplicitY of Voices in NORwiD’S PoetRY Bakhtin’s discovery of polyphony in Dostoevsky’s novels1 became one of the most important and influential events in literary studies in the twentieth century. Although even before the publication of Problems of Dostoyevsky’s Art and after it there appeared supplementary and polemic texts, it was the findings of Bakhtin which have become deeply grounded in the Humanities worldwide. Bakhtin connected the novel techniques of Dostoevsky with his conviction of respect which every man deserves; respect, the fundamental expression of which is freedom of speech. This approach to this problem (although not stated by Bakhtin in these very words) is particularly intriguing from the perspective of the situation of publishing, both in the Russia of the tsars and in the Soviet Union. A plurality of independent and unmerged voices and consciousnesses, a genuine polyphony of fully valid voices is in fact the chief characteristic of Dostoevsky’s novels. What unfolds in his works is not a multitude of characters and fates in a single objective world, illuminated by a single authorial consciousness; rather a plurality of consciousnesses, with equal rights and each with its own world, combine but are not merged in the unity of the event. Dostoevsky’s major heroes are, by the very nature of his creative design, not only objects of authorial 1 On Bakhtin’s concept and analysis of polyphony see Halina Brzoza, Polifonia I wielostylowość czy przewrotna spójność rozpadu? Bliżej Bachtinowskiej koncepcji estetyki Dostojewskiego, i, Dostojewski. -
The Pros and Cons of Deconstructing Bakhtin: a Reflection on Boris Groys
ISSN: 2325-3290 (online) The pros and cons of deconstructing Bakhtin: A reflection on Boris Groys Sergeiy Sandler Independent scholar, Israel Sergeiy Sandler is a scholar and translator (into English and Hebrew) of Mikhail Bakhtin's works. He is the author of multiple articles on Bakhtin's philosophy, as well as of studies promulgating a Bakhtin- inspired approach to linguistics and the philosophy of language. In the summer of 1989, the heated debate around the theories of French poststructuralist thinkers (Michel Foucault, Jacques Derrida, and others) and their American followers was all the rage in many intellectual circles. It is as a contribution to this debate that Boris Groys originally published the article, which has now been brought to us in English translation on the (Virtual) pages of the Dialogic Pedagogy Journal. The contribution was quite sophisticated—a critique of some central ideas of poststructuralism (rejecting the notion of the subject, the “death of the author”) using poststructuralism’s own methods of genealogy and deconstruction. More specifically, Groys offered a critique of poststructuralism carried out in the form of a deconstructive reading of one of poststructuralism’s “ancestors”, and his choice of “ancestor” was Mikhail Bakhtin. This, of course, required reading Bakhtin’s work as poststructuralism avant la lettre—a strained interpretatiVe exercise to say the least.1 But strained interpretations can sometimes nevertheless yield interesting results. And so it happened that Groys’ article became a somewhat scandalous classic in the field of Bakhtin scholarship. Within the context of Bakhtin scholarship, Groys’ article is a mixed bag, the way strained interpretations are prone to be. -
How Language and the Carnivalesque Challenge Hegemony
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School March 2019 Language of Carnival: How Language and the Carnivalesque Challenge Hegemony Yulia O. Nekrashevich University of South Florida, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the Rhetoric Commons Scholar Commons Citation Nekrashevich, Yulia O., "Language of Carnival: How Language and the Carnivalesque Challenge Hegemony" (2019). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/7868 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Language of Carnival: How Language and the Carnivalesque Challenge Hegemony by Yulia O. Nekrashevich A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of English College of Arts and Sciences University of South Florida Major Professor: Phillip Sipiora, Ph.D. Victor Peppard, Ph.D. John Lennon, Ph.D. Date of Approval: March 8, 2019 Keywords: dialogue, heteroglossia, Mikhail Bakhtin, utterance Copyright © 2019, Yulia O. Nekrashevich Table of Contents Abstract .......................................................................................................................................... iii Foreword ..........................................................................................................................................1 -
Bakhtin's Theory of the Literary Chronotope: Reflections, Applications, Perspectives
literary.chronotope.book Page 3 Tuesday, May 4, 2010 5:47 PM View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Hochschulschriftenserver - Universität Frankfurt am Main BAKHTIN'S THEORY OF THE LITERARY CHRONOTOPE: REFLECTIONS, APPLICATIONS, PERSPECTIVES Nele Bemong, Pieter Borghart, Michel De Dobbeleer, Kristoffel Demoen, Koen De Temmerman & Bart Keunen (eds.) literary.chronotope.book Page 4 Tuesday, May 4, 2010 5:47 PM © Academia Press Eekhout 2 9000 Gent T. (+32) (0)9 233 80 88 F. (+32) (0)9 233 14 09 [email protected] www.academiapress.be The publications of Academia Press are distributed by: Belgium: J. Story-Scientia nv Wetenschappelijke Boekhandel Sint-Kwintensberg 87 B-9000 Gent T. 09 255 57 57 F. 09 233 14 09 [email protected] www.story.be The Netherlands: Ef & Ef Eind 36 NL-6017 BH Thorn T. 0475 561501 F. 0475 561660 Rest of the world: UPNE, Lebanon, New Hampshire, USA (www.upne.com) Nele Bemong, Pieter Borghart, Michel De Dobbeleer, Kristoffel Demoen, Koen De Temmerman & Bart Keunen (eds.) Bakhtin's Theory of the Literary Chronotope: Reflections, Applications, Perspectives Proceedings of the workshop entitled “Bakhtin’s Theory of the Literary Chronotope: Reflections, Applications, Perspectives” (27-28 June 2008) supported by the Royal Flemish Academy for Sciences and the Arts. Gent, Academia Press, 2010, v + 213 pp. ISBN 978 90 382 1563 1 D/2010/4804/84 U 1414 Layout: proxess.be Cover: Steebz/KHUAN No part of this publication may be reproduced in print, by photocopy, microfilm or any other means, without the prior written permission of the publisher. -
Textual Polyphony and Skaz in Seis Problemas by Bustos Domecq
Jorge Hernández Martín Textual Polyphony and Skaz in Seis problemas by Bustos Domecq atin America’s first collection of short detective fiction was pub- lished in Argentina by Honorio Bustos Domecq, a fictional au- L thor. Seis problemas para don Isidro Parodi is a groundbreaking text for Latin American letters in many respects. In 1942 and under Bustos Domecq’s name, Jorge Luis Borges and Adolfo Bioy Casares began a fruitful collaboration that would last until 1977.1 Seis problemas not only marked the beginning of a life-long literary venture for Bioy and Borges, but was also a notable contribution to the detective genre in that it was a text conceived and composed as a parodic Latin Ameri- can rendering of the classical, European tradition of the detective story. More importantly, the radical essence of the Parodi stories is to be found in the frontier of dialogue between Bioy and Borges, the two col- laborating subjects who developed the characters and events of the sto- ries as someone other than themselves. The first character that B i o r - g e s invented for the purposes of creating Seis problemas was Bustos Domecq. In terms of Bakhtin’s dialogics, Bustos Domecq is “a whole,” that “while being one, accommodates in itself the accents of two voices” (224-5). Bustos’ being is derived from a counterpoint of voices, and he is an authorial subject whose dialogic boundaries are the gen- eral guidelines of the highly codified tenets of the detective genre. But the dialogic counterpoint did not end with the creative consciousness of the fictional “author;” this essay intends to show that B i o r g e s ’ particular conception of the dialogic author sets off a further interac- tion of multiple voices within Seis problemas. -
The Bakhtin Circle and Ancient Narrative, 32–50 PLATO’S SYMPOSIUM and BAKHTIN’S THEORY 33 Figuration)),4 Is Demonstrably a Novel in the Bakhtinian Sense
Plato’s Symposium and Bakhtin’s theory of the dialogical character of novelistic discourse KEVIN CORRIGAN & ELENA GLAZOV-CORRIGAN Emory University In the strict sense, perhaps, there were no novels in Plato’s Athens or during the Middle Ages or at least in the sense that we have come to know the novel as it may be thought to have begun with Cervantes or Richardson.1 Yet in a broader sense this is perhaps too simple to be usefully true. Schlegel, for ex- ample, saw the Socratic dialogues as “the novels of their time”. Nietzsche thought that in the Platonic dialogue which had assimilated all the older po- etic genres “Plato … furnished for all posterity the pattern of a new art form, the novel, viewed as the Aesopian fable raised to its highest power”.2 Bakh- tin adopted a more cautious approach. He tended to see the later dialogues as monological (wrongly in our view, though this is too large a subject to take up here) but the dialogues as a whole, together with other serio-comical lit- erature, he regarded as “the authentic predecessors of the novel”.3 Nietzsche’s view is essentially correct, even if it produces a typically lop- sided view of Plato and even if it furnishes no criteria for determining what a novel may be. Bakhtin’s assessment, by contrast, though it may arguably get the dialogues a little out of focus, nonetheless provides the criteria for de- termining that the Symposium, rather than the earlier dialogues or even the Symposium’s companion pieces, the Phaedo, Republic, and Phaedrus (and rather than its being simply a biographical chronotope (or time-space con- ————— 1 Cf. -
Education at the Boundary? Time and Space: the Chronotope
Circles, borders and chronotopes: Education at the boundary? Paper submitted for peer review to PESA Conference 7-10 December 2012 Taiwan Jayne White University of Waikato, New Zealand [email protected] One must not… imagine the realm of culture as some sort of spatial whole, having boundaries but also having internal territory. The realm of culture has no internal territory: it is entirely distributed along the boundaries, boundaries pass everywhere, through its every aspect, the systematic unity of culture extends into the very atoms of cultural life, it reflects like the sun in each drop of that life. Every cultural act lives essentially on the boundaries: in this is its seriousness and its significance; abstracted from boundaries, it loses its soul, it becomes empty, arrogant, it disintegrates and dies (Bakhtin, 1999, p. 301). Bakhtin's vision of the "systematic unity of culture" being defined by its boundaries can be extended to the notion of chronotope – a "systematic unity" of time, space and an axiology. Holquist (2009) suggests that chronotope lies at the very centre of knowledge creation, since what is valued in one place and time is bounded in its meeting of „other‟ another. The coordinates of time and space, therefore, are both ideologic orientations and ways of understanding human experience. Central to chronotope is the idea that an individual or culture can, and will, go beyond its own bounds with the additional insights of „other‟. Based on Bakhtin's own chronotopic boundary meetings as a member of at least three „circles‟ of scholars, artists and thinkers early last century, this paper makes the claim that one doesn't merely „cross‟ boundaries, as if one could neatly fit into another set of axiologies and ideologies with minimum effort or minor adjustment. -
Mikhail Bakhtin's Appropriation in the West And
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2009 Mikhail Bakhtin's Appropriation in the West and a Needed Return to Primary Texts: A Review of Authoritative Criticism and a Return to the Idyllic Chronotope in Jude the Obscure Alaina Hohnarth Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the English Language and Literature Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/13 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Mikhail Bakhtin’s Appropriation in the West and a Needed Return to Primary Texts: a Review of Authoritative Criticism and a Return to the Idyllic Chronotope in Jude the Obscure A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Commonwealth University Alaina Hohnarth Master of Arts in English Virginia Commonwealth University August 2009 Chapter 1: “Encountering Mikhail Bakhtin and Thomas Hardy: Controversy, Censorship, and Scholarly Convergence” Mikhail Mikhailovich Bakhtin was born in Orel, Russia on November 17, 1895, the same month that Thomas Hardy’s last and most controversial novel, Jude the Obscure, appeared in volume form in London and New York. And when Hardy died in London in 1928, Bakhtin was a university student in Moscow finishing up his dissertation on Rabelais. Different continents and half a century indeed separate Bakhtin and Hardy from one another, but both have shared similar fates as authors of theory and fiction.