Mikhail Bakhtin Research Papers - Academia.edu (original) (raw)

Bakhtine a décrit le carnaval comme un espace utopique, populiste et festif. Mon propos est que le Grand Magal, un événement religieux mouride au Sénégal ainsi qu'une fête nationale populaire, partage de nombreux parallèles notables avec le carnaval, un argument qui permet de mieux comprendre son importance de même que sa nature. Tout comme le carnaval, le Grand Magal est un espace contradictoire où les oppositions binaires s'estompent : les participants y célèbrent non seulement leur foi mais aussi leur existence humaine en embrassant les plaisirs mondains. Temporairement libérée des règles et des rôles habituels dictés par la vie quotidienne, la communauté mouride peut envisager le futur et le renouvellement, et ainsi échapper aux difficultés de la réalité. Fondée en 1887 par le Cheikh Ahmadou Bamba – fondateur du mouvement soufi musulman – à la suite d'une vision sacrée, la ville de Touba, au Sénégal, est le centre spirituel des Mourides. Chaque 18 Safar, au mois de novembre, environ 4 à 5 millions de Soufis font leur pèlerinage – leur zyara – à Touba. Celui-ci se nomme le Grand Magal : le Magal Gu Ma en wolof. Mag signifie « être important » ou « être vieux ». Magal peut donc être traduit par « célébration » ou « anniversaire » (Coulon 1999 : 196). Pendant le Magal, les disciples mourides – les talibés – font une circumambulation autour des monuments associés au Fondateur, tels que sa tombe, qui se trouve dans la grande mosquée construite en son honneur. Ils présentent des offrandes à leurs marabouts et surtout font des oblations au Khalife Général, qui est

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- Religion, Poverty, West Africa, Sufism

Chapter from edited volume by Grace Bullaro and Stephanie Love

- by Stephanie Love
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- Education, Modernity, Italy, Mikhail Bakhtin

Resumo Este artigo propõe definir um modelo de texto para o texto religioso, em geral, e para o texto bíblico, em especial, por meio de referenciais da semiótica da cultura, dos estudos discursivos e da estética da recepção. Três conceitos se articulam de forma dinâmica: texto, contexto e leitor. A) O texto religioso é estruturalmente complexo, tributário da densidade narrativa do mito e da hiperconectividade da metáfora. B) Textos religiosos são lidos e recriados em redes textuais na história, seus contextos. C) Por fim, o leitor acessa os textos criativamente, atualizando suas possibilidades de sentido. Desta forma propomos um modelo articulado de texto que enfatiza sua polissemia e virtualidade, sua historicidade radical e o papel ativo do leitor. Palavras-chave: texto, contexto, leitor, texto religioso, literatura bíblica.
Abstract This article proposes to define a textual model for the understanding of the religious text, in general, and of the biblical texts, in particular, by means of references from the semiotics of culture, of the discoursive studies and the aesthetics of reception. Three conceptions articulate themselves in a dynamic way: text, context, and reader. A) The texts are considered as structurally complex, narratively dense as the myth, and hiper-connective as the metaphor. B) Religious texts are read and recreated in textual webs in history, their contexts. C) Finally, the reader accesses the text creatively, activating their meaning possibilities. So, we propose an articulated model of text that emphasizes its polysemy and virtuality, its radical historicity, and the active role of the reader.

- by Paulo Nogueira
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- Cultural Semiotics, Biblical Interpretation, Mikhail Bakhtin, Wolfgang Iser
- by Yasuhiro Takeuchi
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- Zen Buddhism, J.D. Salinger, Mikhail Bakhtin, Salvation

This paper discusses the discursive significance of the body in Dalton Trumbo’s classic anti-war novel, Johnny Got His Gun. With its political rants, depictions of working-class life, symbolic imagery, and vivid descriptions of the dismembered torso of its protagonist, Johnny invokes many questions concerning the role that historical forces play in influencing the way we conceptualize the body, as well as how one might use the image of the body to subvert oppressive hierarchies of power.
The novel, which is said to have been based on the true story of a World War I amputee, tells the story of Joe Bonham, a working-class soldier who survives an explosion that costs him his arms, legs and face; as well as his ability to see, speak, hear, eat and breath for himself. As Joe struggles to regain a sense of agency and autonomy in the world, he begins identifying himself as part of a long tradition of “little guys” who are exploited and silenced by those in power. Through a series of stream of consciousness rants, hallucinations and flashbacks, the human body emerges as our primary vehicle for being-in-the-world, as well as the figurative weight that grounds us in it. Following this logic, human freedom and autonomy appear to be curtailed by our own corporeal limitations, coupled with our involvement in a world of oppressive hierarchal systems and reified social relations.
Building on the works of Maurice Merleau-Ponty, Mikhail Bakhtin, Georg Lukacs and others, this paper will reveal a dialectic at work within Johnny between what can best be described as the phenomenal, reified, and grotesque bodies. While the phenomenal (or lived) body of Merleau-Ponty’s philosophy emphasizes relative autonomy and embodied subjectivity, the reified body represents humankind in a completely objectified state. My analysis will illustrate how Johnny Got His Gun creates a tension between these two conceptions of corporeity, while employing grotesque realism—a subversive literary mode utilizing the degraded image of the body—to inspire change in the real world. In doing so, I hope to emphasize how Joe Bonham’s final wish—to use his war ravaged flesh as a subversive tool, thus becoming “the new messiah of the battlefields”— is fulfilled as the text enters the social sphere.

- by wade A bell Jr
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- Marxism, The Grotesque Body, Maurice Merleau-Ponty, Autonomy

Para analisar comparativamente a representação do demônio no conto “A Igreja do Diabo”, de Machado de Assis, e no romance “Os Irmãos Karamázov”, de Fiódor Dostoiévski, partimos das ideias de Goethe, sobretudo na tragédia “Fausto I”. Utilizamos também a teoria da carnavalização na literatura proposta por Mikhail Bakhtin, que a desenvolveu tomando por base o papel catártico e transformador desempenhado pela festa popular profana do Carnaval, desde a Antiguidade até o Renascimento, e o processo de transposição dessa manifestação para a linguagem literária.
(continua na p. 1)

- by Revista Rus
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- Russian Studies, Russian Literature, Translation Studies, Johann Wolfgang von Goethe

Nosso objeto de estudo são cenas de “Onde nascem os fortes”, supersérie exibida pela TV Globo em 2019, e rodada no cariri paraibano, na qual o silêncio do sertão grita tão forte que semelha um personagem. Partimos da pergunta “Até que ponto o sertão da obra fornece espaço de reflexão sobre as ideias acerca do homem nordestino (construídas pela Literatura e ressignificadas pelo Cinema Novo), e que evidenciam a sutil e permanente presença do machismo?”. Nosso objetivo é entender como essas ideias perpassam os cursos da Comunicação (TÁVOLA) - discurso, recurso, incurso, excurso -, a partir dos conceitos de dialogia e cronotopo (BAKHTIN), da perspectiva de gênero (JOAN SCOTT) e do machismo invisível (CASTAÑEDA). Como metodologia, usamos as tecnologias do imaginário (MACHADO) para buscar respostas à nossa indagação. Acreditamos que seja possível encontrar, no discurso verbo-visual, resultados que evidenciam o quanto é forte e arraigada no imaginário nacional a presença de um vigor masculino próprio do homem do sertão, através do qual repousam traços frequentes e seculares que alimentam uma estrutura machista perpetuada sorrateiramente ao longo dos séculos.

The riotous carnival that regularly punctuated the ordered life of traditional societies was characterized by the collective suspension of religious norms. The licentious eruption of animal instincts was epitomized by universal laughter that embraced all and spared none. The vernacular mock-brahmin, who violated the very norms he embodies, nevertheless had his counterpart in the jester of the classical theater, standing beside in dialectical opposition to the king as pivot of the socio-cosmic order. The literate, refined, and spiritual ethos of India’s traditional elite remained continuous with, grounded in, and nourished by ‘Rabelaisian’ popular culture. For the carnival is the temporal projection of a more fundamental, all-pervasive, and ever-present dialectic of order and disorder, interdiction, and violation. The ultimate goal of this alternation was the freedom at the heart of Abhinavagupta’s aesthetics. ‘Creative chaos’ within our multiplying conflicts of civilization assumes ...

- by Sunthar Visuvalingam
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- History, Geopolitics, Russian Foreign Policy, Mikhail Bakhtin

Mídia, discurso e ensino é a obra composta de dez artigos de docentes e pesquisadores, que trazem como foco principal a fundamentação teórico-metodológica do Círculo de Bakhtin a diferentes objetos da sociedade contemporânea. O escopo teórico dos artigos abrange também as relações dialógicas da obra do Círculo com os estudos sobre letramento e leitura (Brian Street e Michele Petit), teorias
de aprendizagem (Vigotsky), Análise do discurso francesa (Dominique Maingueneau, Catherine Authier-Revuz, Michel Pêcheux e Catherine Fuchs), e Teorias de identidade e de gênero (Stuart Hall, Teresa Lauretti, Judith Butler).

Article is devoted features of origin and formation of the theory of speech genres as special direction of modern linguistics. Problems of base units of the theory of speech genres are considered, and also the basic vectors of the future development of this discipline are shined.
Статья посвящена особенностям зарождения и становления теории речевых жанров как особого направления современной лингвистики. Рассматриваются проблемы базовых единиц теории речевых жанров, а также освещаются основные векторы будущего развития этой дисциплины.
Стаття присвячена особливостям зародження та становлення теорії мовленнєвих жанрів як особливого напряму сучасної лінгвістики. Розглядаються проблеми базових одиниць теорії мовленнєвих жанрів, а також висвітлюються основні вектори майбутнього розвитку цієї дисципліни.

- by Oleg Lavrinenko
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- Languages and Linguistics, Bakhtin, Linguistics, Genre Theory

documento anexo: resumos em alemão e português

- by Orlando Grossegesse
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- Historical Jesus, Ernst Bloch, Mikhail Bakhtin, New Atheism

The cultural and ritual performance of Theyyam in Northern Kerala, considered as a reflection of the war cry against the caste system and oppression, conducts subversion of the social hierarchy. The chosen deity by the performer for a transitory symbolisation expresses the collective outrage of the oppressed and exploited people. This research paper enquires about the anti-structural characteristics exhibited by the performance of Theyyam. In the context of Richard Schechner’s performance theory, it attempts to trace the characterisation of Mikhail Bakhtin’s carnivalesque, Victor Turner’s liminality and social drama in the transitional performance of Theyyam that mostly relies on interim separation and reintegration. The expression of antipathy to the hierarchy in Bakhtinian carnival, the anti-structural emphasis in Turnarian liminality, and the deconstructive-reconstructive stages in social drama elucidate the symbolic delineation of the performance of Theyyam. The analytical findi...

- by Raisun Mathew
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- Theatre Studies, Performance Studies, Literature, Liminality

En este artículo, publicado en New Left Review, Nº 216 (marzo/abril 1996), Craig Brandist compara el trabajo de Antonio Gramsci y de Mikhail Bajtín, quienes, aunque desde vertientes diferentes, se basaron en el trabajo de Benedetto Croce... more

- by Craig Brandist
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- Intellectual History, Russian Studies, Social Sciences, Marxism

Este artigo tem como objetivo apresentar alguns apontamentos da Linguística Textual (LT) que contribuíram para a proposta da Base Nacional Comum Curricular (BNCC). Defende-se, neste texto, a perspectiva sociointerativa, que traz a linguagem como uma atividade social e a noção de texto como uma unidade em que o sentido é construído a partir da interação. Fundamentamo-nos em alguns estudos de Koch (2000, 2002, 2006), Marcuschi (1983, 2008), Bakhtin (2003 [1952-1953], 1997), entre outros, com o propósito de identificar as contribuições que a LT trouxe para a Educação Básica, mais especificamente, para o ensino de língua portuguesa. Metodologicamente, este artigo caracteriza-se como um estudo descritivo-interpretativo sob uma perspectiva analítica. Assevera-se, a partir da análise do documento, que o texto é visto como uma unidade de comunicação, como um ponto de convergência entre as dimensões de linguagem. É no texto que as relações gramaticais se constroem e se reconstroem e é no texto também que os discursos se concretizam. Verifica-se, portanto, uma preocupação da BNCC com o caráter dinâmico das práticas de linguagem, com as novas demandas sociais e com os contextos de usos de textos em uma perspectiva multissemiótica, que tem como suporte as novas mídias e os ambientes da Web.

Russian formalism is the European counterpart of the Anglo-American New Criticism. And in this formalism, there are elements categorized under it – Baring the device, Defamiliarization, Retardation of the Narrative, Naturalization, and Carnivalization. This literary criticism will be done on Karel Capek’s literary work: “Rossum’s Universal Robots (R.U.R.). Having said this, “Rossum’s Universal Robots” or R.U.R., shows several elements that would make it appealing to Russian formalists. The element which will be focused in this literary piece will be ‘Carnivalization’, which is coined by Mikhail Bakhtin. There will be three points that will be talked about: (1) what is carnivalization, (2) where is carnivalization shown in the novel using the four categories of carnivalization presented, and (3) how does carnivalization affect the novel.

- by Nicole <3
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- World Literatures, Literature, Literary Criticism, Literary Theory
- by Marion Acker
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- Autofiction, Mikhail Bakhtin, Bakhtin dialogism, Yoko Tawada
- by Jean-Francois Racine
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- New Testament, Literary Theory, Mikhail Bakhtin, Gospel of Luke

Este artigo analisa, com base nos estudos bakhtinianos, as relações de poder entre sujeitos no filme Nerve (2016). O objetivo é entender a relação de jogo como interação social, por um jogo instaurado num filme, de maneira estética. A importância se volta à reflexão sobre a ética valorativa, colocada em foco de maneira estética. Para se compreender como os juízos de valor constituem a obra, analisa-se a configuração arquitetônica do enunciado fílmico para ver como ele flagra situações de limite colocadas nesse tipo de jogo,
que controla os participantes e suas ações. Os resultados demonstram que o filme, como enunciado estético,
apresenta a maneira como jogos/aplicativos/plataformas, similares a Nerve, estimulam atos extremos por meio do controle e da manipulação.

- by Diálogo das Letras
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- Mikhail Bakhtin, O sujeito e o poder, Ética Valorativa

This article pursues two tasks. The first is to clarify the value and productivity of Williams's Keywords: a vocabulary of culture and society (first edition 1976, second expanded edition 1983a) for the project of Cultural Studies. This clarification is helped, I argue, by reading it alongside Vološinov's Marxism and the philosophy of language (published in Russian in 1929, translated into English in 1973). The second and related task is a speculative development of 'keywording' (or keyword analysis) based on an assessment of the limitations and potential of Williams's broad philological project for today. My argument is that Keywords initially sought to provide a historical map of changing patterns of feeling associated (primarily) with industrialization in England, and that this was sometimes in an uneasy relationship with what he would later name as the project of providing 'resources of hope'. One consequential limitation of the original work is that its historical perspective was built on semantic examples provided by the OED (or to give it its original title, the Oxford new English dictionary on historical principles) and supplemented with Williams's literary studies. My suggestion is that Cultural Studies can develop (and has, to some degree, already developed) Williams's Keywords project without it being centred on literature or beholden to the OED. This would mean treating the project less as an exemplary milestone or methodology and more as an unfinished and unfinishable project whose methodology is critically dynamic: in other words, to move from Keywords to 'keywording' requires altering Williams's methodology. In conclusion I speculate about the ways in which the historical aims of keywording could be expanded to make it more conducive to providing 'useable histories' and semantic counternarratives, while also pursuing the radical contextualism of Vološinov and Bakhtin.

- by Ben Highmore
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- Philology, Keywords, Raymond Williams, Mikhail Bakhtin

This essay challenges the prevailing view among critical theorists that laughter's emancipatory power stems from its ability to speak the truth. The disparate accounts of laughter offered by Plato, Hobbes, and Nietzsche exemplify an alternative strategy for theorizing laughter as a performance of deception, or an experience that mystifies rather than enlightens. While a view of laughter as deceptive may at first appear to reduce laughter's critical leverage over ideology, I argue that this approach offers a stronger account of its emancipatory power. Speaking the truth does little more than reveal the falsity of ideology, and laughter's capacity to actually transform society hinges on how it deceives differently-namely, in such a way that prompts the imagination and construction of more democratic institutions and modes of relating. The essay concludes by considering the implications of this argument for how we understand the role of truth in critical theory today.

- by Patrick T Giamario
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- Critical Theory, Plato, Comedy, Democratic Theory

O presente trabalho busca delinear as polifonias existentes na construção da personagem
Elena, no documentário “Elena” (2012), dirigido por sua irmã, Petra Costa. No filme,
Petra busca construir o sujeito representativo Elena, retomando alguns caminhos feitos
pela irmã, e também por meio de entrevistas de amigos e familiares; imagens de arquivo
de peças teatrais e apresentações de danças; imagens de arquivo feitas pela família e por
Elena, quando Petra ainda era criança e áudio-cartas que Elena enviava à família, quando
morava em Nova Iorque. Nesse ínterim, os próprios sentidos sobre si mesma são
modificados na constituição do sujeito Petra. Bakhtin delimita o conceito de polifonia ao
analisar, dentre outras, a obra de Dostoievski. Nessa delimitação, o autor entende que os
sujeitos se constituem na e pela interação de diversos discursos, que por sua vez, são
compostos por uma polifonia de outros discursos. Sendo assim, o conceito em si diz
respeito a essa multiplicidade de vozes presentes na construção de sentidos; para o
presente artigo, iremos abordar a polifonia na construção de personagem no documentário
em questão. No filme, não só a voz de Elena, de amigos e de familiares, mas a própria
voz de Petra, como diretora, é uma voz complementar de diálogo polifônico entre
personagem, a forma de Elena e o espectador. Sendo assim, os sentidos sobre quem é
Elena nunca se fecham. Em suma, o objetivo do artigo é identificar essas polifonias
apresentadas nas tecnologias utilizadas na composição da personagem Elena. Para isso,
será realizada análise das áudio-cartas deixadas por Elena, refletindo também como Petra
escolhe utilizá-las na composição fílmica. Além disso, pretende-se pensar a própria
polifonia do espectador, gerada a partir da sensibilização dos olhares nas diversas
posições estéticas.

- by Marina Alvarenga Botelho
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- Mikhail Bakhtin, Cinema brasileiro, Documentário, Polifonía discursiva

Analisar a partir da filosofia do ato responsável de Bakhtin, os referenciais teóricos que permitem problematizar a tarefa do pesquisador. A autora enfatiza o compromisso ético do pesquisador na produção de conhecimento em ciências humanas, mostrando como a filosofia da linguagem de Bakhtin amplia os horizontes das práticas discursivas na grande temporalidade, garantindo a especificidade que as ciências humanas que estudam o homem devem ter em seu permanente vir-a-ser.

- by Solange Jobim
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- Mikhail Bakhtin, Pesquisa, Etica, Linguagem

В статье рассмотрена поэтика речи («речевых жанров», термин М. М. Бахтина) мужских и женских божеств в гимне Каллимаха «К Артемиде». В результате анализа на лексическом, грамматическом, синтаксическом и тематическом уровнях выявлены особенности поэтики речи персонажей и авторского обмана горизонта читательских ожиданий, а также корреляция поэтики гендера и мотива власти.

- by Anastasia Potapova
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- Gender Studies, Mikhail Bakhtin, Callimachus' hymns

This paper will focus on how the rise in popularity of zombie literature in the 21 st century is reflective of a western cultural need to address the fear of the unknown through popular culture. Through the flesh-eating zombie, we enter a parallel world where everything familiar in our communities becomes evil. The genre reflects the fear in Western society of the neighbor who has turned against you, survival in the midst of government collapse, and the monster within. Zombie fantasy literature allows society a venue to deconstruct what is known while dealing with these fears and the unbridled hate of the unthinking zombie through a collective experience using popular culture. What this fantasy subgenre allows, the author will explain, is a monster that embodies an individual human's greatest fears. At times, the zombie reflects the fear of social breakdown; at others, the zombie reflects aging and death. The versatility of this embodiment of fear allows it to be a genre that continues to evolve. Using the writings of Mikhail Bakhtin on carnival and festive folk humor, the author will discuss how the zombie genre has provided fantasy lovers a desconstructive space to deal with fear, death, and hate in a genre that breaks down what western society has constructed for itself, and also allows readers to rebuild the future without constraint. Zombies, however, always leave room for humanity to hope for life and the future. This popular culture phenomenon goes beyond mere entertainment as it reaches into the heart of viewers and allows them to express their greatest emotions.

- by T. Hunter Strickland
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- Popular Culture, Bakhtin, Pedagogy, Mikhail Bakhtin

"Entre los hombres y las bestias: La jerarquía ontológica inexistente en Don Quijote" explores particular episodes in Cervantes' El ingenioso hidalgo don Quijote de la Mancha (The Ingenious Gentleman Don Quijote of la Mancha) through the lens of animal studies, seeking to challenge the ontological distinction and presupposed hierarchy between animals and human beings. This paper focuses particularly on the episodes involving the transportation of don Quijote in a cage (I.48), Eugenio the goatherd that speaks affectionately towards his goats (I.50), the story of the crazy man from Seville told by the barber (II.1), don Quijote's failed attempt at battling the caged lion (II.17), and the war between villages with the town that has perfected braying like donkeys (II.27). Through narrative techniques such as juxtapositions and inversions, Cervantes strategically constructs episodes featuring animals to challenge and explore the relationship between the two, confronting the treatment of insane humans as animals, as well as questioning the role of clothes in the blurry line between beast and man. Engaging with Mikhail Bakhtin’s studies of the carnavalesque and the inversions of social hierarchies, as well as Jacques Derrida’s discourse “The Animal That Therefore I Am,” this paper argues that the world of Don Quijote is one full of animals that interact and relate to humans, defying expectations and asserting their being, to the ultimate end of breaking down ontological hierarchies and calling for a closer look at our relationship with the animal world.

- by Michelle Markell
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- Critical Animal Studies, Jacques Derrida, Don Quijote, Mikhail Bakhtin
- by calin-andrei mihailescu
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- Critical Theory, Comparative Literature, Thomas Mann, Walter Benjamin

Este trabalho apresenta um recorte de uma pesquisa de doutorado que está andamento no Programa de Pós-Graduados em Linguística Aplicada e Estudos da Linguagem
da Pontifícia Universidade Católica de São Paulo (PEPG-LAEL/PUC-SP). A pesquisa tem por objetivo observar e descrever como o Tradutor Intérprete de Libras/Português (TILSP) mobiliza os conhecimentos prévios construídos em sua prática profissional a partir de conhecimentos novos adquiridos em um contexto de formação. A pesquisa justifica-se pela atual demanda de formação de TILSP determinada por legislação vigente (Lei 10.098/00; Decreto 5.626/05; Lei 12.319/10) para atuação em vários contextos em que haja a necessidade de acessibilidade comunicacional de surdos usuários da libras. Por meio de um deslocamento da metodologia da Autoconfrontação, originalmente elaborada pelo linguista francês Daniel Faïta (1992; 1995; 2005) no contexto da Clínica da Atividade em que o objetivo era colocar o trabalhador de frente com seu próprio fazer para mobilizar, na linguagem, aquilo que acontece no plano da ação transformando a atividade de trabalho, busca-se observar e analisar, por meio de uma atividade de interpretação da libras para a língua portuguesa na modalidade oral em contexto de
formação, a mobilização de saberes investidos, aqueles que o trabalhador constrói na sua prática fora de um contexto de formação, em diálogo com saberes instituídos, que são adquiridos em um contexto formal e institucional. O corpus foi coletado em um curso de especialização em Tradução e Interpretação de Libras/Português de uma instituição de ensino superior privada na cidade de São Paulo. A fundamentação teórico-metodológica estabelece uma articulação entre duas contribuições aos estudos da linguagem e do trabalho: 1) as formulações sobre enunciado concreto, interação verbal, significação, tema e compreensão ativa elaboradas no conjunto da obra de Bakhtin e o Círculo; e 2) os aportes teóricos da Ergologia, abordagem filosófica elaborada na França na década de 1970 por Yves Schwartz em diálogo com outros
intervencionistas do trabalho humano, sobre saberes investidos, saberes constituídos, normas antecedentes e renormalização. Os dados coletados estão sendo processados e transcritos no software de transcrição de língua de sinais ELAN (EUDICO Language Annotator) desenvolvido pelo Max Planck Institute for Psycholinguistics.

- by Vinícius Nascimento
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- Social Work, Interpreting Studies, Work and Labour, Mikhail Bakhtin

Using Édouard Glissant's vision of 'poetics of relation,' I intent to demonstrate how Olga Tokarczuk's novel Flights (2007; 2017) turns significantly responsive to what I have termed 'hyperglossia.' Hyperglossia proposes a magnification of Bakhtin's heteroglossia, in recognition that today's world is informed by discourses that not only complete and complement each other, but also exceed the individual's capacity to assemble one reality. If heteroglossia encompasses another's speech in another's language (Bakhtin), hyperglossia appeals to both the form that speech acquires and its precedence as utterance (the polyphonic aspect), as it is processed by the writer. Hyperglossia is rhizomatic, hypertextual, and exponential. It is a continuum of fluidity and indeterminacy that challenges Western patterns of reading and thought. On the light of this, I propose a reading of Tokarczuk's Flights as a hyperglossic text in functions determined by the fragmentation of the narrative voice(s).

This chapter discusses the fraught relationship between Second Sophistic discourse and koinē fiction of the second and third centuries ce. Taking its point of departure from a comparison (synkrisis) of Dio of Prusa’s first oration On Kingship and the α-recension of the Greek Alexander Romance, the chapter goes on to argue that Second Sophistic
discourse and koinē fiction are not just two different bodies of contemporaneous writings that happened to appear side by side. Rather, they remain engaged in an intertextual agon where literary production in koinē—as opposed to Attic—Greek constitutes a dialectical negation of the overtly imperialist political agendas and monologic cultural
objectives that inform Second Sophistic composition. Further consideration of the Life of Sekoûndos and the Story of Aseneth shows how koinē fiction of this period not only aggressively contests the goals and priorities of the Second Sophistic, but pointedly turns its norms and ideals inside out.

- by Daniel Selden
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- Septuagint, Greek Dialects, Mikhail Bakhtin, Thebes

Delilah is one of the more enigmatic characters in the Bible. She is marked by a series of ambiguities in the text that pose a host of unanswered questions. Is she a Philistine, an Israelite, or something else? What exactly does her name mean and what is the nature of her relationship to Samson? And why does she help the Philistines capture Israel’s notorious strongman? Despite all this ambiguity, much of her reception history is rigidly consistent. The dominant trend is the portrayal of Delilah as the reviled seductress who bedevils Samson. This interpretation was also promulgated among ancient readers of the story, such as Josephus and Pseudo-Philo, who identify Delilah not only as a prostitute and a Philistine, but as the wife of Samson. These types of interpretive gap-filling serve as early exemplars of a long and nearly unwavering reception history in which Delilah is unequivocally the villain. If there is any other interpretive potential lying dormant in the text, then it is rarely actualized. Building upon the work of contemporary feminist and womanist scholars, I intend to subvert that trend by arguing that Delilah can and should be read in a variety ways due to the intentional ambiguity employed by the biblical author. Furthermore, by drawing upon the work of Mikhail Bakhtin, I will identify the “unfinalizability” of Delilah’s character and demonstrate how she simultaneously embodies the role of victim, victor, and villain.

- by Molly Hoey
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- Comparative Literature, Roland Barthes, Georges Bataille, Transgressive Fiction

This article argues that a Russian analytical paradigm of carnival culture can help explain the successful presidential campaign of President Donald J. Trump. Russian philosopher and literary critic Mikhail Bakhtin developed the notion of carnival culture while analyzing Francois Rabelais' work and its connection to the popular culture of Renaissance. Carnival ethos stood in opposition to the 'official' and 'serious' church sanctioned and feudal culture, by bringing out folklore and different forms of folk laughter that Bakhtin denoted as carnival. Carnival culture with its opposition to the official buttoned-up discourse is supposed to be polar opposite, distinguished by anti-ideology and anti-authority, in other words, anti-establishment – the foundation of Trump's appeal to his voters. This article examines the core characteristics of carnival culture that defined Trump's presidential campaign from the start.

- by Lisa Gaufman
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- American Studies, Media Studies, Presidency (American Politics), Literature

This chapter examines the relationship between collective trauma and comedy as a meaningful cultural ritual. Drawing on the work of Mikhail Bakhtin and Emile Durkheim, Scepanski highlights the temporal aspects of these theorists' work to... more

- by Philip Scepanski
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- Television Studies, Screen Comedy, Humor, Humor/Satire

In this paper, our objective is to contribute to the debate around the "quantum mysticism" phenomenon, exploring discursive aspects that permeate an utterance with this kind of theme. To this end, we bring forth an analysis of the book Quantum healing by Deepak Chopra, based on the philosophy of the Bakhtin Circle. We investigate not only the author's argumentative strategies, but also the constitutive elements of this utterance (theme, structure, and style) with its context of publication, production, and reception. We end our arguments recognizing the incoherence that Chopra demonstrates with his intertwining of mystical and alternative conceptions with a scientific worldview, while uttering inconsistent metaphors and serious contradictions, but we also highlight that the author was able to influence the way in which concepts related to Quantum Physics circulate outside academia.

- by Daniel Pigozzo
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- Quantum Physics, Mikhail Bakhtin, Metalinguistics
- by Denis Zhernokleyev
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- Religion, Russian Studies, Philosophy, Theology
- by Riccardo Nicolosi
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- Russian Studies, Literary Theory, Dostoevsky, 20th Century Russian Literature

Нидерландского художника начала ХАГ в. Лукаса ван Лейдена и нидерландского теоретика культуры ХХ в. Йохана Хёйзингу связывает не только Лейден, где Лукас родился и провел почти всю жизнь, а Хёйзинга был профессором университета, но и интерес к игре. Теоретическому рассмотрению игры Хёйзинга посвятил труд “Homo Ludens”, до сих пор остающийся наиболее фундаментальным в этой области, а Лукас изобразил игру в нескольких своих произведениях. В статье предпринимается семантический анализ картины Лукаса «Игра в шахматы» (при сопоставительных параллелях с другими «игровыми» произведениями) и критическое прочтение ключевых пассажей книги Хёйзинги. Картина «Игра в шахматы» рассматривается с учетом предположения о наличии в ней матримониально ориентированного метанарратива, а за соотнесением художественного нарратива (сюжет картины) и метанарратива (ее предполагаемое содержание) усматривается некий супернарратив, который позволяет разглядеть в картине Лукаса определенную «концептуализацию» феномена игры, представляющую интерес в свете характеристик игры, предложенных Хёйзингой, и введенного им понятия «игрового элемента культуры». Хёйзинге принадлежит важное положение о том, что игра выполняет в культуре нормативную функцию. Но поскольку такую функцию в культуре выполняет не только игра, необходима спецификация этой функции в рамках игры, причем эта спецификация была бы тем более точна, чем более тонко дифференцировались разновидности игры, посредством которых нормативная функция осуществляется по-разному. Речь идет о таких разновидностях игры, как игра-воображение игра-представление, игра-состязание, игра-церемония, игра-испытание, игра-тренинг и т. д. Наряду с этим необходимо различение игры как социокультурного феномена и социокультурных феноменов, содержащих игровой элемент. В основу такого различения могут быть положены именно те характеристики игры, которые выделяет Хёйзинга, и анализ степени их актуальности для игровых элементов культуры.

- by Ruben Apressyan
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- Play, Mikhail Bakhtin, Johan Huizinga, Garden of Love

James Graham Ballard (1930-2009), who is well-known for his post-/apocalyptic fiction, represented chaotic conditions of human beings in the face of environmental disasters and their endeavour to survive in the nonhuman environment through and after the apocalypse. In his post-apocalyptic novel The Drought (1965) Ballard depicts a world turning into a global desert due to the toxic waste release into seas and oceans all around the world. This article aims to examine The Drought within the framework of post-apocalyptic chronotope with respect to Mikhail Bakhtin’s theory of the chronotope. In doing so, this article proposes that there is an intrinsic relationship between the human psyche and nonhuman agency within the temporal and spatial frame.

- by Ayşe Şensoy
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- Mikhail Bakhtin, Chronotope, J. G. Ballard, Post-Apocalypse
- by Jess Ellis
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- Gender, Theories of Gender and Transgender, Judith Butler, Women and Gender Studies

Die Kritik an den bestehenden sozialen Verhältnissen im vorrevolutionären Deutschland zählt zu den zentralen Themen des prägnanten Werks Georg Büchners. In seinen Dramen denunziert er die Heuchelei und Frivolität der oberen Klassen sowie ihre Unterdrückung der ärmeren Schichten zur Befestigung der sozialen Hierarchien. In Anlehnung an die Arbeiten Martins (2015, 2017) zur entstehungsgeschichtlichen und konzeptionellen Parallelität von Georg Büchners letzten Dramen Leonce und Lena und Woyzeck wird im vorliegenden Beitrag versucht, die Rolle der Ästhetik des Grotesken bei der Darstellung sozialer Umstände in den erwähnten Stücken Büchners zu bestimmen. Der Fokus der Untersuchung liegt auf den grotesken Elementen und Motiven bei der Darstellung der unterschiedlichen gesellschaftlichen Sphären. Dazu zählen u.a. die Automaten, die Aufhebung der Grenzen zwischen Tieren und Menschen sowie der Wahnsinn des Titelhelden in Woyzeck. Dabei werden die Theorien Kaysers und Bachtins zum Grotesken herangezogen, die exemplarisch die Ambivalenz dieser ästhetischen Kategorie zeigen.

The paper examines the complex relationship between a lauded American animated sitcom South Park on the one side, and literature, especially satire, on the other side. Upon asserting the bond between literature and popular culture, numerous references presented in the show are pointed out, namely the stance the authors take on literature and the act of reading, the types and subtypes of humor exhibited, and topicality. Finally, using the writing of Mikhail Bakhtin, South Park itself is treated as literature as its type of humor is a continuation of an age-old literary tradition of laughter. The conclusion asserts this as it is revealed that South Park owes much of its popularity to the literary aspect of the humor exhibited in the show.

- by Stefan Pajović
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- Popular Culture, Humor, Parody, South Park