DIALOGICS

1. DIALOGICS 9753001沈仁琪

2. Contents • A Brief Introduction to Mikhail Mikhailovich Bakhtin • Mikhail Mikhailovich Bakhtin 的文學理論 • 補充1:heteroglossia 補充2:以社會學的觀點看carnivalistic • 後記 • 資料來源

3. Mikhail Mikhailovich Bakhtin(1895-1975) • Russian:Михаил Михайлович Бахтин • a Russian philosopher, literary critic, semiotician and scholar who wrote influential works of literary and rhetorical theory and criticism. • Works: Problems of Dostoyevsky’s Art: polyphony and unfinalizability Rabelais and His World: carnival and grotesque The Dialogic Imagination: Chronotope, Heteroglossia Toward a Philosophy of the Act • Ideas: dialogism對話論, polyphony多音 複調 unfinalizability沒有終結性, carnival,grotesque狂歡荒誕, chronotope時空觀, heteroglossia眾聲喧譁 A memorial plaque for Mikhail Bakhtin.

4. Mikhail Mikhailovich的文學理論 • 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

5. Mikhail Mikhailovich的文學理論 • 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… )

6. Mikhail Mikhailovich 的文學理論 • Bakhtin identifies such polyphony as a special property ,and he traced it back to itscarnivalistic sources in classical ,medieval,and Renaissance cultures. • Bakhtin’s constant focus is in the many voices in a novel ,such as Dostoyevsky, allow character’s voices free play actually placing them on the same plane as the voices of the author. • And one of Bakhtin’s key term iscarnivalization. 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

7. Mikhail Mikhailovich 的文學理論 • 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 ofchronotope, or how time is encoded in fiction ,and to his notion of the hidden polemic in all speech. P.363

8. Mikhail Mikhailovich 的文學理論 • 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 authenticunfinalizability. (Problems of Dostoevsky’s Poetics) P.365 The Dialogic Imagination Problems of Dostoevsky’s Poetics

9. (補充1)Heteroglossia眾聲喧譁 • The termheteroglossiadescribes 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. • “小說才是唯一展現眾聲喧譁的場域，其它文類，如戲劇或詩，皆是獨白而非對話”。 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.

10. (補充2)社會學的觀點來看Bakhtin • 一位民間文化專家 • 官方,高級,權威VS.民間,低俗,弱勢 • 民間最強的力量POWERFUL：嘉年華 • 拉伯雷和他的世界(Rabelais and his World)－平民文化的內在動力 • Bakhtis 區辨出的嘉年華會是「一種特殊的邏輯，『由裡朝外』的、『反轉』的，一種由上而下、由前到後的持續轉變」eg:反抗事件 • 嘉年華屬於符號性和儀式性的存在，而非實踐性的 • 巨人傳 群學出版有限公司 社會學大有用

11. 後記 • 這次選擇第十章Bakhtin的理論來當個人報告內容，覺得還蠻幸運的，因為在第十二週時上社會學課時，課本也有提到這位大師，所以在做這次報告時並沒有太大的陌生感，而且又可以從文學和社會學來看這位大師，讓我想到同一個理論是放諸四海皆準的，它可以適用時文讀也能融入於社會當中供我們研究，希望在將來的報告當中也能有這種如魚得水的感覺。

12. 資料來源 • http://en.wikipedia.org/wiki/Bakhtin • http://www.litphil.sinica.edu.tw/publish/PDF/Bulleton/33/33-001-034.pdf (中央研究院中國文哲研究所 周建渝教授論文) • http://en.wikipedia.org/wiki/Heteroglossia • http://en.wikipedia.org/wiki/Leo_Tolstoy • http://zh.wikipedia.org/w/index.php?title=File:Dostoevsky.jpg&variant=zh-tw • http://www.books.com.tw/exep/prod/booksfile.php?item=0010373195 • http://www.utexas.edu/utpress/books/bakdia.html • http://www.upress.umn.edu/Books/B/bakhtin_problems.html • http://www.erraticimpact.com/~20thcentury/html/mikhail_mikhailovich_bakhtin.htm