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Abstract
‘Bakhtin and his Others’ aims to develop an understanding of Mikhail Bakhtin’s ideas through a contextual approach, particularly with a focus on Bakhtin studies from the 1990s onward. The volume offers fresh theoretical insights into Bakhtin’s ideas on (inter)subjectivity and temporality – including his concepts of chronotope and literary polyphony – by reconsidering his ideas in relation to the sources he employs, and taking into account later research on similar topics. The case studies show how Bakhtin's ideas, when seen in light of this approach, can be constructively employed in contemporary literary research.
‘This volume continues a current trend in Bakhtin scholarship devoted to contextualizing Bakhtin’s work by situating his essays not only with respect to the writings of the Bakhtin circle, but also within the wider context of the German philosophical tradition and early Soviet literary studies. […] [T]he overall quality of the scholarship is excellent, with individual contributors all citing recent and pertinent studies in the field.’ —Tara Collington, ‘Canadian Slavonic Papers’
‘This stimulating collection will make a distinct contribution to the study of Bakhtin’s work and its significance for literary historians.’ —Professor Galin Tihanov, George Steiner Chair of Comparative Literature, Queen Mary, University of London
Liisa Steinby is Professor of Comparative Literature at the University of Turku. Her main research interests include the problems of modernity and subjectivity in the novel from the eighteenth century to the present and related questions in literary theory.
Tintti Klapuri is Junior Research Fellow at the Department of Comparative Literature at the University of Turku, Finland. Her research interests include Chekhov, temporality and contemporary Russian literature.
Table of Contents
| Section Title | Page | Action | Price |
|---|---|---|---|
| Half Title | i | ||
| Title Page | iii | ||
| Copyright Page | iv | ||
| CONTENTS | v | ||
| ACKNOWLEDGEMENTS | vii | ||
| TRANSLATION AND TRANSLITERATION | ix | ||
| Introduction THE ACTING SUBJECT OF BAKHTIN | xi | ||
| The Question of Subject(ivity) | xii | ||
| The Acting Subject | xiv | ||
| Bakhtin and His Others | xix | ||
| Notes | xxii | ||
| References | xxii | ||
| Chapter 1 BAKHTIN AND LUKÁCS: SUBJECTIVITY, SIGNIFYING FORM AND TEMPORALITY IN THE NOVEL | 1 | ||
| Introduction: Bakhtin and Lukács | 1 | ||
| Subject and Signifying Form: The Early Bakhtin and the Early Lukács | 2 | ||
| From the Quest for Totality to a Polyphony of Voices: Hegel, Lukács, Bakhtin | 7 | ||
| Subjectivity and Temporality in the Novel | 12 | ||
| Notes | 16 | ||
| References | 17 | ||
| Chapter 2 BAKHTIN, WATT AND THE EARLY EIGHTEENTH-CENTURY NOVEL | 19 | ||
| Novelistic Turning Points and the Eighteenth-Century Novel According to Bakhtin | 21 | ||
| The Early Eighteenth-Century Novel: Watt and Anglo-American Criticism | 26 | ||
| Conclusion | 33 | ||
| Notes | 34 | ||
| References | 35 | ||
| Chapter 3 CONCEPTS OF NOVELISTIC POLYPHONY: PERSON-RELATED AND COMPOSITIONAL-THEMATIC | 37 | ||
| Introduction: Polyphonies of the Novel | 37 | ||
| Bakhtin: Polyphony as Polysubjectivity | 38 | ||
| The Romantic Idea of the Musical Composition of a Literary Work of Art: Friedrich Schlegel | 42 | ||
| The Polyphonic Composition of Thomas Mann’s Doctor Faustus | 45 | ||
| Polyphony as the Principle of Composition of a ‘Novel in the Form of Variations’: Milan Kundera | 49 | ||
| Notes | 52 | ||
| References | 53 | ||
| Chapter 4 FAMILIAR OTHERNESS: PECULIARITIES OF DIALOGUE IN EZRA POUND’S POETICS OF INCLUSION | 55 | ||
| Hieratic Head | 56 | ||
| Encountering Hades | 57 | ||
| Walking with Kung | 59 | ||
| Guide to Otherness | 63 | ||
| The Pattern Persists | 66 | ||
| Conclusion | 69 | ||
| Note | 70 | ||
| References | 70 | ||
| Chapter 5 AUTHOR AND OTHER IN DIALOGUE: BAKHTINIAN POLYPHONY IN THE POETRY OF PETER READING | 73 | ||
| The Problem of Bakhtinian Terminology and Poetry | 73 | ||
| Polyphony and the Poetic Text | 75 | ||
| Peter Reading’s Polyphonic Poetry | 77 | ||
| Polyphony as Macroscopic Structure | 83 | ||
| Notes | 84 | ||
| References | 86 | ||
| Chapter 6 TRADITION AND GENRE: THOMAS KYD’S The Spanish Tragedy | 87 | ||
| The Tradition of Neo-Latin Drama in Kyd’s Time | 89 | ||
| Source Study and ‘Ideological Colloquy’ | 90 | ||
| Kyd, Speech Genres and Literary History | 92 | ||
| The Spanish Tragedy and Conversation | 96 | ||
| Notes | 101 | ||
| References | 102 | ||
| Chapter 7 BAKHTIN’S CONCEPT OF THE CHRONOTOPE: THE VIEWPOINT OF AN ACTING SUBJECT | 105 | ||
| Bakhtin’s Concept of Chronotope: An Epistemological Category? | 105 | ||
| The Bildungsroman: Seeing the Acting Subject in History | 112 | ||
| Chronotopes: Forms of the Time of Human Action as Conditioned by Concrete Circumstances | 116 | ||
| Notes | 123 | ||
| References | 123 | ||
| Chapter 8 THE PROVINCIAL CHRONOTOPE AND MODERNITY IN CHEKHOV’S SHORT FICTION | 127 | ||
| The Provincial Chronotope and the Idyll | 128 | ||
| The Provincial Poshlost | 131 | ||
| Provincial Longing and Narrative (Un)predictability | 134 | ||
| Notes | 139 | ||
| References | 144 | ||
| LIST OF CONTRIBUTORS | 147 |