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.


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.


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 ?
Although Clark announces that his main theoretical approach will be based on the work of Mikhail Bakhtin, in most of what follows, Bakhtin disappears or is at best only implicitly present in his analyses of Indonesian literary works and films.
The book is justified, nevertheless, he argues, by the "extraordinary affinities" shared by the two writers and by the need to test whether Lawrence helps us to understand Bakhtin as well as the other way around.
In order to overcome these limitations and to augment the defence of narrative theory this article draws considerably from the work of Mikhail Bakhtin whose philosophy both compliments and enhances narrative understanding and has considerable potential in generating a more inclusive and creative understanding of humanity, our relationships to others and to the world in which we are inextricably linked.
Next, the concept of dialogism of Mikhail Bakhtin will show that colonial discourse is not monological, but dialogical, in that it constitutes both dominant discourse and counter-dominant discourse.
A few years ago in academic circles, it seemed like one could not go anywhere, including art galleries, without hearing the name Mikhael Bakhtin.
Bakhtin "is no longer an author but a field of study in his own right" (p.
Pensando nisso, apresentamos neste trabalho uma visao panoramica sobre as contribuicoes de Bakhtin, Schneuwly e Adam para o estudo sobre generos, para ser possivel vislumbrar ate que ponto suas teorias se diferem ou se interagem.
99 IN 1989 Berlin, KGB agent Yuri Bakhtin (Johannes Johannesson) shoots dead MI6 agent James Gascoigne (Sam Hargrave) and steals a microfilm containing the names and locations of field agents.
In 1989 Berlin, KGB agent Yuri Bakhtin (Johannes Johannesson) shoots dead an MI6 agent and steals a microfilm containing names and locations of active field agents.
For Bakhtin, any utterance is shot through with ideologiya, any speaker is automatically an ideolog' (Morris, 1994, as cited in Freedman & Ball, 2004, p.