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2. Through the mediation of literary forms, both artists and readers can understand
the unity and inner logic of an entire epoch and master new aspects of reality.
This is a highly suggestive insight, but unfortunately Medvedev does not develop it
in any great detail.
BAKHTIN AND DOSTOEVSKYS POLYPHONIC UNIVERSE
Problems of Dostoevskys Poetics remains significant in that it strives to carve out
a radically new way of looking at language and intertextuality in both literature and
everyday life.
The primary concepts that emerged from this text were to remain central to
Bakhtins philosophical project until his death in 1975, despite various theoretical
shifts in orientation and emphasis. As such, they are of more than passing interest
vis--vis the understanding of the nature of ideology and the dynamics of
discursive struggle in society, and to much contemporary writing in sociology,
communications theory, literary criticism, and linguistics which are only now
catching up to the themes and problematics sketched out by Bakhtin and his
colleagues decades earlier.
23. The first examines Dostoevskys novelistic universe using broad
philosophical categories which owe much to the tradition of German idealist
philosophy (particular that of Kant as well as the neo-Kantians Ernst Cassirer and
Hermann Cohen) and the Romantic aesthetic in general. The second section
represents Bakhtins attempt to situate Dostoevsky in relation to a particular
literary/cultural tradition which he designated as the carnivalesque. He felt that
this particular generic tradition could be ultimately traced to Socratic dialogue and
Menippean satire through to the popular carnivals of the Middle Ages and early
Renaissance, and he insisted that Dostoevskys (like Rabelaiss) work could not be
adequately comprehended unless this ancient folk-carnival basis was fully
acknowledged and appreciated. The third part is concerned with detailed stylistic
analyses of selected passages from Dostoevskys novels and short stories,
organized in terms of a complex typology of discourse-types.21
24. For Bakhtin, Dostoevsky was the first genuine exponent of the fully
polyphonic novel which, as both a description of literary form and an ethical ideal,
had hitherto been only partially realized in particular, marginalized genres within
European literary history. The crux of this polyphony is the suggestion that
freedom, of course), and incorporates him into the strict and carefully calculated
plan of the whole (1984: 13). Such devices aim at the rupturing and dislocation of
the seamless whole of the monologic world of objects, events and consciousnesses
through the introduction of heterogeneous and multiform materials into the text.
In the polyphonic novel, elements of plot, characterization and so forth are all
structured to make dialogic opposition inescapable. The result is an endless clash
of unmerged souls, the construction of a multiplicity of diverse yet
interconnecting ideological worlds. Bakhtin refers to this as the great dialogue,
and he feels it is a principle which inheres in every element of the polyphonic text
indeed, in all of social life itself:
To be means to communicate dialogically. When dialogue ends, everything
ends. Thus dialogue, by its very essence, cannot and must not come to an
end. [] Everything in Dostoevskys novels tends toward dialogue, toward
a dialogic opposition, as if tending toward its center. All else is means;
dialogue is the end. A single voice ends nothing and resolves nothing. Two
voices is the minimum for life, the minimum for existence. (1984:252)
Dostoevskys characters are therefore ideologists in the fullest sense of the word.
They express a coherent Weltanschauung, what Bakhtin calls an integral
ideational position. Dostoevskys artistic goal is therefore not mimesis, the faithful
reproduction of an external reality, but rather the representation of how this
reality appears to the heros self-consciousness. In Dostoevskys writings, then, we
are not privileged to see who the hero is, but rather how he is conscious of
himself; our act of artistic visualization occurs not before the reality of the hero,
but before a pure function of his awareness of that reality (1984:48).
26.Accordingly, Dostoevskys most significant heroessuch as Ivan Karamazov,
Raskolnikov, and Prince Myshkincannot be understood as amalgams of fixed,
static traits; nor are their actions and thoughts wholly predictable. They not only
react but act; sensitized to their own surroundings and to their situation, they are
existential beings who are fully responsible for their own deeds and words. Hence,
Dostoevskys primary artistic strategy is oriented toward the expression and finetuning of a characters discourse, a discourse which is designed to galvanize
characters, provoke them, make them respond dialogically, thereby laying bare
[their] own final word as it interacts intensely with other consciousnesses (Bakhtin
1984:54).
Dostoevskys heroes are imbued with the power to signify because they are
privileged with a fully weighted semantic position. If polyphony is to be fully
realized, then this direct and unmediated power to mean cannot be restricted to
the author. And it is precisely Dostoevskys approach which, according to Bakhtin,
represents a new and integral authorial position which allows for an
unprecedented method of visualizing the human being in the sphere of art.22
Dostoevskys heroes are imbued with the power to signify because they are
privileged with a fully weighted semantic position. If polyphony is to be fully
realized, then this direct and unmediated power to mean cannot be restricted to
the author. And it is precisely Dostoevskys approach which, according to Bakhtin,
represents a new and integral authorial position which allows for an
unprecedented method of visualizing the human being in the sphere of art.22
To be means to communicate
The entire sphere of dialogic interaction itself, where disourse lives an authentic
life.
33.
38.
45.
Grotesque
69.
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85.
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96
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Nietzsche