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 ?
Their linguistic identities, in particular, are heteroglossic; they point to the presence of nonneutral voices and types of expression within a single individual that underline the cultural perspective within which meaning is made (Bahktin, 1981).
Kristeva would object to such construal of the burlesque in Giotto, questioning whether, a la Bahktin, the negativity of burlesque at this point was indicative of Giotto's contestation of the world and the narratives around him.
Furthermore, such a claim can be proved by the vast amount of work and effort on Bakhtin's legacy over the last few years, and a concomitant revival of attention and interest in Bakhtin's early ethics and aesthetics which resulted not only in the return and reconsideration of ethics as the central philosophical concept but also in highlighting the significance of Bahktin's early philosophical writings as points of reference for any ethical and aesthetic appropriation (Caliskan 3-4; Emerson 5-6, 21-23; Holquist 14).
Bahktin writes, 'the epic world is an utterly finished thing...
consciousness and not another consciousness' (Bahktin, in Goncalves
(155.) See BROTHERS KARAMAZOV, supra note 1, at 242; CHILD-CENTERED PRACTICES, supra note 116, at 42 (explaining that "speaking for baby" is a technique whereby a clinician speaks for an infant to help the parents understand how the infant is feeling); BAHKTIN, supra note 4, at 6 (noting that a defining characteristic of Dostoevsky's novels is "[a]plurality of independent and unmerged voices").
We also view the construction of identity as a space of self-authoring (Bahktin, 1981); that is, as the process through which an individual appropriates a language filled with others' intentions and makes it his or her own.
These shifts in focalizer demonstrate a multi-voiced text, Mikhail Bahktin's "heteroglossia," that complicates the single perspective of <i>Mockingbird</i> to reveal the growth Jean Louise experiences to absorb multiple perspectives into her own.
The first, attributed to Bahktin, sees a hybrid as a "single utterance" (Bakhtin 1981, esp.
This perspective is also drawn from the work of Mikhail Bahktin and his writings on absolute death.
Among the theorists he draws upon to illuminate the problem of literature's relationship to history and memory are Bahktin (on polyphony and chronotopes), Halbwachs (on collective memory), Hayden White (on emplotment), and Ann Rigby (on the power of historical novels to shape collective memory).