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2mo kimkelly
cover

Book

The Dialogic Imagination
Douban
M. M. Bakhtin translator: Caryl Emerson publishing house: University of Texas Press 1982 - 1
These essays reveal Mikhail Bakhtin (1895-1975)—known in the West largely through his studies of Rabelais and Dostoevsky—as a philosopher of language, a cultural historian, and a major theoretician of the novel. The Dialogic Imagination presents, in superb English translation, four selections from Voprosy literatury i estetiki (Problems of literature and esthetics), published in Moscow in 1975. The volume also contains a lengthy introduction to Bakhtin and his thought and a glossary of terminology. Bakhtin uses the category "novel" in a highly idiosyncratic way, claiming for it vastly larger territory than has been traditionally accepted. For him, the novel is not so much a genre as it is a force, "novelness," which he discusses in "From the Prehistory of Novelistic Discourse." Two essays, "Epic and Novel" and "Forms of Time and of the Chronotope in the Novel," deal with literary history in Bakhtin's own unorthodox way. In the final essay, he discusses literature and language in general, which he sees as stratified, constantly changing systems of subgenres, dialects, and fragmented "languages" in battle with one another.

读过 The Dialogic Imagination 🌕🌕🌕🌕🌕
论时空体这篇对喜剧的观察精彩感人,历史诗学对叙事的问题如此驾轻就熟...情爱、饮食、劳动、死亡各类序列在文学以高雅程度分层的过程中被切断联系(现代性问题中也有孤立现象但与前现代语境不同),喜剧重新联结它们。高雅文学的代表性方法是隐喻、象征(两种方法的界定涉及到事件何种意义上在作品内可作字面解,但这样的界定与悲剧喜剧的交叉很复杂,巴赫金的喜剧典例主要是《巨人传》和以弗所的寡妇,下同),它们作为分相剂把某序列、序列某成分从整体中提升出来,比如中世纪语境下存在的高雅文学与爱情、世俗文学与家庭、低俗文学与通奸这种分层操作。但是喜剧对于凡所涉及的序列起到固色剂作用,不像严肃文学那样经历升华并处于伪造可能的阴影下。

kimkelly
@kimkelly@neodb.social
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