The Bakhtin Reader: Selected Writings of Bakhtin, Medvedev, Voloshinov (Hodder Arnold Publication)
Format: PDF / Kindle (mobi) / ePub
This anthology provides a comprehensive selection of the writing by Bakhtin and of that attributed to Voloshinov and Medvedev. It introduces readers to the aspects most relevant to literary and cultural studies and gives a focused sense of Bakhtin's central ideas and the underlying cohesiveness of his thinking.
elements preserved in a genre are not dead but eternally alive; that is, archaic elements are capable of renewing themselves. A genre lives in the present, but always remembers its past, its beginning. Genre is a representative of creative memory in the process of literary development. Precisely for this reason genre is capable of guaranteeing the unity and uninterrupted continuity of this development. For the correct understanding of a genre, therefore, it is necessary to return to its sources
instance of verbal utterance can be reckoned exclusively to its utterer's account. Every utterance is the product of the interaction between speakers and the product of the broader context of the whole complex social situation in which the utterance emerges. Elsewhere1 we have attempted to show that any product of the activity of human discourse - from the simplest utterance in everyday life to elaborate works of literary art derives shape and meaning in all its most essential aspects not from
complex and mutual interactions whereby changes in the base process through to 'refraction* in the yarious superstructures. It is the word as sign which Voloshinov/Bakhtin offers as the potential solution to this problem. The word is implicated in literally each and every act or contact between people', and for that reason the word or sign is the 'most sensitive index of social change1. Understanding the multiple social forms of verbal interaction (speech performances and genres) and the way they
objects. Skaz,1 representational, and informational discourses must develop some new attitude toward their object. Thus, all the elements of novelistic structure in Dostoevsky are profoundly original; all are determined by that new artistic task that only he could pose and solve with the requisite scope and depth: the task of constructing a polyphonic world and destroying the established forms of the fundamentally monologic (homophonic) European novel.2... The most favourable soil for it was
a discourse, and a discourse always represents a view of the world; the perception from which the consciousness speaks. The idea can be constructed into an artistic image by Dostoevsky because for him it is always inseparable from the image of a consciousness, a voice. For this reason the idea in Dostoevsky is dialogic and unfinalizable. In this it contrasts utterly to the way an idea is represented in a monologic artistic work. There, ideas are either those of the authorial consciousness in