The Word as Dialogue: The Lyrical Apostrophe vis-à-vis the Dialogic Theory of Mikhail Bakhtin

2016 ◽  
Vol 17 (1) ◽  
pp. 92-105
Author(s):  
Dorottya Szávai
Keyword(s):  
Literary Theory ◽  
Mikhail Bakhtin ◽  
Language Theory ◽  
Dialogic Theory

The present paper aims to explore aspects of Bakhtin’s dialogic model and, in a wider sense, of discourse and language theory, which can be related to the dialogic structures of the lyrical genre. We propose to reread Bakhtin’s dialogic theory, approaching it from other (mainly postmodern) literary discourses, and to situate Bakhtin’s oeuvre, which “stands alone” and is hard to fit into theoretical trends, in literary theory. We consider it especially significant to approach the dialogic devices of Bakhtin’s theory from the perspective of literary hermeneutics and deconstruction.

Text denken

2019 ◽  
Vol 23 (1) ◽  
pp. 274-291
Author(s):  
Andrea Polaschegg
Keyword(s):  
Literary Theory ◽  
Language Theory ◽  
Literary Studies ◽  
Proper Understanding ◽  
Literary Theories ◽  
The Media ◽  
New Space ◽  
The Impact

Abstract Tracing the transformations phenomenological thought underwent in the sphere of literary studies after the 1930s, the paper outlines the epistemological potential of this tradition in regards to a proper understanding of the phenomenon ›text‹. Proceeding from reflections on the agonal relation between structuralistic and phenomenological traditions within contemporary literary theory, the article focuses on Husserl’s apprehension of texts as being »objects in procedure« by exploring the impact of this idea on the literary theories of Ingarden, Wellek, and Iser. In light of the - largely forgotten - fact that Karl Bühler’s pioneering Language Theory (1934) is mainly based on phenomenological thinking, the paper finally discusses to what extend Bühler’s idea of verbal expressions figuring as effective events could open a new space for the development of a literary theory of texts within recent debates on the »media of literature«.

scholarly journals Speech Genres, of Mikhail Bakhtin

2016 ◽  
Vol 11 (16) ◽  
Author(s):  
Miriam Puzzo
Keyword(s):  
Mikhail Bakhtin ◽  
Human Sciences ◽  
Speech Genres ◽  
Dialogic Theory

The recent Paulo Bezerra’s translation of Bakhtin’s essay Speech genres (1952-1953) has shed new light on Bakhtin’s dialogic theory. Although the translator has already translated this essay that integrates collection Aesthetics of verbal creation (2003), to pull it apart from the collection to relaunch it along with The text in linguistics, in philology and other human sciences (1959- 1961), he seeks to illuminate some aspects little emphasized in the old translation.

scholarly journals POSSIBLE PATHS FOR UNDERSTANDING HUMAN SCIENCES WITH MIKHAIL BAKHTIN

2020 ◽  
Vol 1 (1) ◽  
pp. 1-7
Author(s):  
Ivo Di Camargo ◽  
Fábio Marques de Souza ◽  
Viviane Alves da Silva
Keyword(s):  
Social Studies ◽  
Literary Theory ◽  
Mikhail Bakhtin ◽  
Western Society ◽  
Human Sciences ◽  
Language Philosophy ◽  
Basic Concepts ◽  
New Perspective ◽  
The Way

This article aims to offer an opportunity to think and question some of the possible paths to understanding Mikhail Bakhtin’s contributions to the human sciences. Therefore, we will contextualize the ideas from Bakhtin Circle, connecting the semantic production of each one of its Russian members (such as Bakhtin, Medvedev, Volochinov, Kanaiev, Pumpianski and Judina) which provided a collaborative production that has been changing the way Western society thinks about human sciences throughout the last decades. These researchers perceptibly changed the studies on language philosophy, literary theory studies, and also offered a new perspective on discourse genres and basic concepts for linguistic and social studies, such as polyphony, alterity, dialogical relations, etc. These concepts function in relation to one another. We can perceive one element that has combined within itself this dialogue in a way it can provide the interaction between different knowledge areas, thinkers, researches and authors.

scholarly journals Translating Readings

2021 ◽  
Vol 1 (1) ◽  
Author(s):  
Anna Förster
Keyword(s):  
Foreign Language ◽  
Literary Theory ◽  
North American ◽  
Language Theory ◽  
Translation Theory ◽  
Russian Formalism ◽  
History Of

Situated at the intersection of literary theory and translation theory, the paper deals with the history of foreign literary theory in 1980s Czechoslovakia. Focusing on both the published works and the archival legacy of Czech literary scholar Vladimír Macura (1945–99), it studies the peculiar intertwining of reading, commentary, and translation involved in the reception of foreign language theory from Russian Formalism to North American deconstruction, the translation of which had been hindered for ideological or political reasons, as well as its mediation through Macura’s publication of paraphrasing excerpts in his 1988 “Guidebook to International Literary Theory”.

The Impossible Peasant Voice in Russian Culture: Stylization and Mimicry

Slavic Review ◽  
2005 ◽  
Vol 64 (3) ◽  
pp. 517-537 ◽  
Author(s):  
J. Alexander Ogden
Keyword(s):  
Literary Theory ◽  
Mikhail Bakhtin ◽  
Critical Value ◽  
Value Judgment ◽  
Silver Age ◽  
Russian Culture ◽  
The People ◽  
Mikhail Kuzmin ◽  
Valerii Briusov ◽  
The Voice

Unlike the English term “stylization,” Russian stilizatsiia figures prominently in literary theory. Emerging out of debates around Vsevolod Meierkhol'd's theatrical innovations and subsequently elaborated by “Silver Age” writers (Valerii Briusov, Viacheslav Ivanov, Mikhail Kuzmin), formalists (Iurii Tynianov, Boris Eikhenbaum, Viktor Gofman), and Mikhail Bakhtin, the Russian concept must be distinguished from cognate terms in other languages—something missing from both Russian and non-Russian discussions. In Russian, stilizatsiia is invoked in two distinct senses: as a critical value judgment (dismissing works considered artificial or “lifeless”) , and as a complex and well-developed strategy of borrowing another's style (thus a sense related to parody and skaz). Works accepted as representing the “voice of the people” have often been exempted from analysis as stilizatsiia; J. Alexander Ogden argues, however, that “peasant poets” (Nikolai Kliuev, Aleksei Kol'tsov, Robert Burns) can best be understood precisely as stylizers in the sense elaborated by Bakhtin and others.

scholarly journals The return of poetics. Julia Kristeva vs Mikhail Bakhtin

2021 ◽  
Vol 18 (2) ◽  
pp. 242-261
Author(s):  
Konstantin A. Barsht ◽  
Keyword(s):  
Literary Theory ◽  
Social Factors ◽  
Theoretical Basis ◽  
Mikhail Bakhtin ◽  
Literary Work ◽  
Julia Kristeva ◽  
Literary Fiction ◽  
Literary Aesthetics ◽  
Russian Scientific ◽  
Binary Oppositions

The article offers an analysis of the concept of “intertext” that has been put forward by Julia Kristeva in her work “The Destruction of Poetics” in comparison with Mikhail Bakhtin’s idea of a universal context and “infinite dialogue”. It is concluded that Kristeva incorrectly perceived Bakhtin’s thoughts about context and dialogue, which are personalistic in nature in contrast to Kristeva’s impersonal one based on the Freudian-driven “It” and social factors of the “intertext”. The article analyzes the theoretical basis of this concept, including the crisis in literary theory in the 1970s–1980s where there was frustration by the European and Russian scientific community in the universalism of binary oppositions. In this regard, the issue of overcoming the theoretical difficulties of literary aesthetics with the help of the ternary model of aesthetic communication (“metalinguistics”), which was developed by Bakhtin in his works since the 1930s and was not heeded by Kristeva, has not yet been mastered in modern philological science. This concept is based on the idea of aesthetics as metaethics, which is built up in the process of textual communication over simple binary ethical exchange. The article suggests that the use of this idea of a ternary (metalinguistic) construction of the communicative field of a literary work can significantly advance the solution of many problems in theoretical poetics, in particular, reveal new ways for linking the discursive-textual and axiological fields of a literary-fiction text into one whole.

scholarly journals Luiz Costa Lima e a teoria do romance (Retorno à Poética) / Luiz Costa Lima and the Theory of the Novel (Return to Poetics)

2020 ◽  
Vol 29 (4) ◽  
pp. 65
Author(s):  
Nabil Araújo
Keyword(s):  
Literary Theory ◽  
Mikhail Bakhtin ◽  
The Novel ◽  
Central Topic ◽  
Hans Blumenberg ◽  
Theory Of The Novel

Resumo: Neste artigo, analisamos criticamente o tratamento reservado à teoria do romance na obra do maior nome da teoria da literatura no Brasil, Luiz Costa Lima, mais especificamente a relação por ele estabelecida entre a “afirmação do romance” e o “controle do imaginário”, um tópico central de sua obra desde a década de 1980. Questionando a própria noção de “controle” aí em jogo, desembocamos num retorno à Poética como teoria dos gêneros do discurso, aqui estimulado pelo diálogo possível entre Mikhail Bakhtin e Hans Blumenberg, que Luiz Costa Lima encoraja em sua abordagem da teoria do romance.Palavras-chave: Luiz Costa Lima; teoria do romance; gêneros do discurso; poética.Abstract: In this article, we critically analyse the treatment to the theory of the novel in the work of the greatest name of literary theory in Brazil, Luiz Costa Lima, more specifically the relation between the “affirmation of the novel” and the “control of the imaginary”, a central topic of his work since the 1980s. Questioning this notion of “control” itself, we reach to a return to Poetics as a theory of genres of discourse, here stimulated by the possible dialogue between Mikhail Bakhtin e Hans Blumenberg, which is encouraged by Luiz Costa Lima in his approach to the theory of the novel.Keywords: Luiz Costa Lima; theory of the novel; genres of discourse; poetics.

scholarly journals The Bakhtin Circle’s dialog in Vietnam

2021 ◽  
Vol 8 (1) ◽  
Author(s):  
Le Huy Bac ◽  
Dao Thi Thu Hang ◽  
Le Nguyen Phuong
Keyword(s):  
Mikhail Bakhtin ◽  
Common Life ◽  
The World ◽  
Dialogic Theory

AbstractIn this article, we use Jacques Derrida’s deconstructive method to study the influence of Mikhail Bakhtin in Vietnam in the 1990s and 2000s. By using evaluations of Bakhtin by researchers in Vietnam and around the world, we argue that he is not the only owner of the theory of dialog and polyphony. His friends, Pavel Medvedev and Valentin Voloshinov, also played important roles in defining these concepts. The Bakhtin Circle’s dialog theory is related to the sense of democracy in society. The work of Bakhtin was introduced to Vietnam in the 1980s and led to a “Bakhtin fever” throughout Vietnam. However, he has been less overrated recently. We also discover a mistake in the dialogic theory of the Bakhtin Circle. The members of the Circle said that the nature of language is dialogic, which means that whenever language is used, either in literature or in common life, it is always polyphonic. Based on this claim, novels use language to tell stories, so novels are polyphonic. The Bakhtin Circle was mistaken when labeling Dostoevsky’s novels as polyphonic and Tolstoy’s novels as monologic. In the same vein, the Bakhtin Circle strongly believed that language in poetry is always monologic. We think this claim is also wrong. Dialogicality appears in all kinds of poetic languages.

Teniers, Flemish Art, and the Natural School Debate

Slavic Review ◽  
1991 ◽  
Vol 50 (3) ◽  
pp. 576-589 ◽  
Author(s):  
Ronald D. Leblanc
Keyword(s):  
Literary Theory ◽  
Mikhail Bakhtin ◽  
Prose Fiction ◽  
Verbal Form ◽  
Image Position

Horace's dictum, Utpictura poesis, might appear anachronistic today in light of modern literary theory, which has tended to view literature as a distinctly verbal form of art and has preferred lately (especially during the current craze for Mikhail Bakhtin) to examine such decidedly nongraphic aspects of prose fiction as narratology, dialogicality, and polyphony.

Mikhail Bakhtin

1995 ◽  
Author(s):  
Michael F. Bernard-Donals
Keyword(s):  
Mikhail Bakhtin
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