Mikhail Bakhtin

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Bakhtin, Mikhail Mikhailovich

 

Born Nov. 5 (17), 1895, in the city of Orel. Soviet Russian literary scholar.

In 1920, Bakhtin began his pedagogical and literary work. In his book Problems in Dostoevsky’s Works (1929) he studied the polyphonic character of the author’s artistic thought. In his book on F. Rabelais (1965), Bakhtin analyzed the essence of the comic and the grotesque, the popular “carnivalization” of art. He is also the author of articles on L. N. Tolstoy (1930) and works on the theory of literature.

WORKS

Problemy poetiki Dostoevskogo, 2nd ed. Moscow, 1963.
Tvorchestvo F. Rable i narodnaia kul’tura Srednevekov’ia i Renessansa. Moscow, 1965.
“Epos i roman.” Voprosy literatury, 1970, no. 1.

REFERENCES

Lunacharskii, A. V. “O’mnogogolosnosti’ Dostoevskogo.” In his book Stat’i o literature. Moscow, 1957.
Shubin, L. “Gumanizm Dostoevskogo i’dostoevshchina’.” Voprosy literatury, 1965, no. 1.
Pospelov,G. “Preuvelicheniia ot uvlecheniia.” Voprosy literatury, 1965, no. 1.
Pinskii, L. “Rable v novom osveshchenii.” Voprosy literatury, 1966, no. 6.
References in periodicals archive ?
According to Bahktin (1981) we do not learn words from a dictionary.
En su libro sobre Rabelais y la cultura popular de la Edad Media, Mihkail Bahktin analiza el significado ideologico del carnaval y resalta el sentido opositor y extraoficial de estas fiestas: "they were sharply distinct from the serious official, ecclesiastical, feudal and political cult forms and ceremonial.
Habermas needs a more realistic and fine-grained analysis of the basic structure and function of everyday speech, and it's precisely Mikhail Bahktin who provides it.
Recently, scholars have been more receptive to the idea, antithetical to Bahktin, that genuine religious belief and festive elements could fruitfully coexist; see for instance, Paul Whitfield White, "Holy Robin Hood
Habermas and Bahktin on dialogue, everydaty life and the public sphere.
What influence this image had on the provincial capital's economic development is impossible to judge, and historians of tourism are divided on whether it is essentially a positive or negative force, but, as architectural historian Marc Grignon (citing Bahktin and Derrida) has pointed out, images are not innocent, for they help to define reality rather than simply re-presenting it.
For example, her overview of Levinas and Bahktin, the two major thinkers she uses to frame her argument, is an elegantly written mini-education near the opening of the book.
In a discussion of Zacharias Kunuk's Atanarjua: The Fast Runner, Jennifer Gauthier refers to Mikhail Bahktin to introduce her argument concerning the ways two films challenge rigid boundary definitions between documentary and fiction film, writing of "the discourse that sets up an opposition between documentary and fiction film" (109).
Writing about the "third space" is one particularly exciting concept emerging from activity theory; this concept also draws on Vygotsky and Bahktin.
According to Bahktin, no utterance is ever free of other (even Other) utterances.
In so doing, he draws on a plethora of fiction writers and theorists that include, in addition to the above-mentioned, the likes of: Dario Bellezza, Andrea Camilleri, Gabriele D'Annunzio, Davide Lajolo, Elisabetta Rasy, Paolo Ruffilli, and others for biographies; Peter Ackroyd, Simone de Beauvoir, Oriana Fallaci, John Fante, Claudio Magris, Lalla Romano, Jose Saramago, and others for fictional (meta)biographies; and Michail Bahktin, Remo Ceserani, Jacques Derrida, William H.
through the use of a dialogical analysis in the manner of Mikhail Bahktin, whereby the language of the text is unpacked to reveal its social dynamisms and antimonies, its implicit conversations?