DIALOGICS

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DIALOGICS

• 9753001???

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Contents

• A Brief Introduction to Mikhail Mikhailovich
  Bakhtin
• Mikhail Mikhailovich Bakhtin ?????
• ??1heteroglossia
• ??2????????carnivalistic
• ??
• ????

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Mikhail Mikhailovich Bakhtin(1895-1975)

• Russian?????? ?????????? ??????
• a Russian philosopher, literary critic,
  semiotician and scholar who wrote influential
  works of literary and rhetorical theory and
  criticism.
• Works
• Problems of Dostoyevskys Art polyphony
  and unfinalizability
• Rabelais and His World carnival and
  grotesque
• The Dialogic Imagination Chronotope,
  Heteroglossia
• Toward a Philosophy of the Act
• Ideas
• dialogism???,
• polyphony?? ??
• unfinalizability?????,
• carnival,grotesque????,
• chronotope???,
• heteroglossia????
• 
  

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Mikhail Mikhailovich?????

• Dialogics is the key term used to describe the
  narrative theory of Bakhtin.
• Dialogics refers to the inherent addressivity of
  all language.
• In this humanistic emphasis, Bakhtin departed
  from linguistical approach to literature and from
  other Russian formalists.
• For him, not only the interaction of characters
  but
• also the act of reading the novel which they
  exist are living events.
• P.362

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Mikhail Mikhailovich?????

• He contrasts the monologic novels of writers such
  as Leo Tolstoy with the dialogic works of Fyodor
  Dostoyevsky.
• Instead of subordinating the voices of all
  characters to an overriding authorial voice, a
  writer such as Dostoyevsky creates a polyphonic
  discourse.
• Bakhtin seems to believe that Dostoyevsky
  actually though in voices rather than in ideas
  and wrote novels that primarily dialogical of
  facts about a character, but the significance of
  facts voiced to the hero himself and to other
  characters.
• P.363
• Leo Tolstoy
  Dostoyevsky
• (War and Peace, Anna Karenina)
  (Crime and Punishment, The Brother
  Karamazov )

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Mikhail Mikhailovich ?????

• Bakhtin identifies such polyphony as a special
  property ,and he traced it back to its
  carnivalistic sources in classical ,medieval,and
  Renaissance cultures.
• Bakhtins constant focus is in the many voices in
  a novel ,such as Dostoyevsky, allow characters
  voices free play actually placing them on the
  same plane as the voices of the author.
• And one of Bakhtins key term is carnivalization.
  Out of the primordial roots of the carnival
  tradition in folk culture, he argues , arises the
  many-voiced novel of the twentieth century.
• In the modern world this carnivalized
  antitradition appears most of significantly in
  the novel.
• Just as the public ritual of carnival inverts
  values in order to question them, so many the
  novel call closed meaning s into question.
• As carnival concretizes the abstract in a culture
  , so Bakhtin claims that the novel carnivalizes
  through diversities of speech and voice reflected
  in its structure.
• P.364

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Mikhail Mikhailovich ?????

• In a sence there are multiple Bakhtins. He is
  read differently by Marxist critics.
• He partook of both Christianity and revolutionary
  Marxism. Marxist critics respond more to his
  notion of chronotope, or how time is encoded in
  fiction ,and to his notion of the hidden polemic
  in all speech.
• P.363

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Mikhail Mikhailovich ?????

• As Michael Holquist points out ,rather than
  seeing the novel as a genre alongside others,
  such as epic, ode, or lyric, Bakhtin sees it as a
  supergenre that has always breaking traditional
  assumptions about form.
• Bakhtin argues ,the novel is the only developing
  genre (The Dialogic Imagination )
• Bakhtin describes how the novelist may voice a
  moral concern through narrative technique,
  particularly the power of knowledge to enact a
  design on that which is known.
• In other to accommodate the consciousness of
  others,and he or she does not turn other
  consciousnesses, but instead re-creates them in
  their authentic unfinalizability. (Problems of
  Dostoevskys Poetics)
• P.365
• The Dialogic Imagination
  Problems of Dostoevskys
  Poetics

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(??1)Heteroglossia????

• The term heteroglossia describes the coexistence
  of distinct varieties within a single linguine
  code.
• Bakhtin argues that the power of the novel
  originates in the coexistence of, and conflict
  between, different types of speech the speech of
  characters, the speech of narrators, and even the
  speech of the author.
• He defines heteroglossia as "another's speech in
  another's language, serving to express authorial
  intentions but in a refracted way." It is
  important to note that Bakhtin identifies the
  direct narrative of the author, rather than
  dialogue between characters, as the primary
  location of this conflict.
• ???????????????,????,?????,????????? novel is
  considered as the most proper genre to present
  heteroglot languages for Bakhtin, and how Bakhtin
  enumerates the artistic techniques of forming
  heteroglossia in literary works.

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(??2)????????Bakhtin

• ????????
• ??,??,??VS.??,??,??
• ???????POWERFUL???
• ????????(Rabelais and his World)-?????????
• Bakhtis ?????????????????,?????????????,??????????
  ???????eg????
• ???????????????,??????
• ???
• 
  
  
• 
  
  ???????? ??????

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??

• ???????Bakhtin???????????,???????,??????????????,?
  ?????????,??????????????????,??????????????????,??
  ???????????????,??????????????????????,???????????
  ????????????

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????

• http//en.wikipedia.org/wiki/Bakhtin
• http//www.litphil.sinica.edu.tw/publish/PDF/Bulle
  ton/33/33-001-034.pdf (???????????? ???????)
• http//en.wikipedia.org/wiki/Heteroglossia
• http//en.wikipedia.org/wiki/Leo_Tolstoy
• http//zh.wikipedia.org/w/index.php?titleFileDos
  toevsky.jpgvariantzh-tw
• http//www.books.com.tw/exep/prod/booksfile.php?it
  em0010373195
• http//www.utexas.edu/utpress/books/bakdia.html
• http//www.upress.umn.edu/Books/B/bakhtin_problems
  .html
• http//www.erraticimpact.com/20thcentury/html/mik
  hail_mikhailovich_bakhtin.htm