By Dostoyevsky, Fyodor; Bakhtin, Mikhail Mikhaĭlovich; Emerson, Caryl
This ebook isn't just a huge twentieth-century contribution to Dostoevsky’s experiences, but in addition probably the most vital theories of the unconventional produced in our century. As a contemporary reinterpretation of poetics, it bears comparability with Aristotle.“Bakhtin’s assertion at the dialogical nature of creative construction, and his differentiation of this from a background of monological observation, is profoundly unique and illuminating. this can be a vintage paintings on Dostoevsky and a press release of significance to serious theory.” Edward Wasiolek“Concentrating at the specific positive aspects of ‘Dostoevskian discourse,’ how Dostoevsky buildings a hero and a plot, and what it potential to put in writing dialogically, Bakhtin concludes with an important theoretical assertion on discussion as a class of language. the most very important theories of the radical during this century.” The Bloomsbury evaluation
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Additional resources for Problems of Dostoevsky's poetics
But the idea and its exposition are not easily separated in Bakhtin. " The formal structure and streamlining of the critical EDITOR'S PREFACE Q xxxi essay, at least as we know it in the English-speaking world, is simply not his mode. He is often at his most provocative in the tiny fragment, in his jottings for future projects not yet worked out or beyond hope of publication; on the other hand, his longer worked-out pieces seem loosely structured, even luxuriously inefficient. Available evidence suggests4 that Bakhtin did not conceive even his published books as concise, self-sufficient theoretical statements.
4]. 32. See, for example, Bakhtin's unimaginative interpretation of the Epilogue to Crime and Punishment, which he calls a "conventionally monologic ending" [this volume, p. 39]. 3 3. These readings can be found in the following essays, translated in The Dialogic Imagination: of Pushkin's Eugene Onegin, in "From the Prehistory of Novelistic Discourse," pp. 43-49; of Dickens' Little Dorrit, in "Discourse in the Novel," pp. , pp. 317-20. 34. "Toward a Reworking of the Dostoevsky Book," Appendix II in this volume, p.
25 In Bakhtin's case, however, there are deeper and more energetic structures at work that shape his utterance. Above all else, Bakhtin is sensitive to authority in discourse: who is speaking, when, how, to whom, through how many intermediaries—and how these levels of authority are represented in hybrid constructions. His own prose, I should add, is often a fabric of such hybrids. In one sentence he will represent direct speech, indirect speech, quasi-direct speech, his own voice interwoven with the voices and arguments of his opponents and fellow-travelers.