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Books on the topic 'Dialogisme (Bakhtine)'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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1

François, Frédéric. Bakhtine tout nu, ou, Une lecture de Bakhtine en dialogue avec Vološinov, Medvedev et Vygotski, ou encore, Dialogisme, les malheurs d'un concept quand il devient trop gros, mais dialogisme quand même. Limoges: Lambert-Lucas, 2012.

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2

Dialogism: Bakhtin and his world. 2nd ed. London: Routledge, 2002.

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3

Dialogism: Bakhtin and his world. London: Routledge, 1990.

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4

Maior, Dionísio Vila. Fernando Pessoa: Heteronímia e dialogismo : o contributo de Mikhaïl Bakhtine. Coimbra: Livraria Almedina, 1994.

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5

Shapes of openness: Bakhtin, Lawrence, laughter. Newcastle: Cambridge Scholars, 2010.

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6

Leone, Matthew. Shapes of openness: Bakhtin, Lawrence, laughter. Newcastle: Cambridge Scholars, 2010.

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7

Dubravka, Juraga, ed. Bakhtin, Stalin, and modern Russian fiction: Carnival, dialogism, and history. Westport, Conn: Greenwood Press, 1995.

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8

Bogatyreva, E. A. Dramy dialogizma: M.M. Bakhtin i khudozhestvennai͡a︡ kulʹtura XX veka. Moskva: Shkola Kulʹturnoĭ Politiki, 1996.

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9

Dickens and Bakhtin: Authoring and dialogism in Dickens's novels, 1849-1861. Brooklyn, NY: AMS Press, 2012.

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10

Thomson, Clive, Anthony Wall, and Mykola Polyuha. Dialogues with Bakhtinian theory: Proceedings of the thirteenth International Mikhail Bakhtin Conference. London, Ontario: Western [University], Mestengo Press, 2012.

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11

United Kingdom Council for Psychotherapy, ed. Dialogue and desire: Mikhail Bakhtin and the linguistic turn in psychotherapy. London: Karnac, 2008.

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12

Bakhtine. Mikhaïl Bakhtine: Dialogisme et analyse du discours. Bertrand Lacoste, 1995.

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13

Rumsey, Alan. Monologue and Dialogism in Highland New Guinea Verbal Art. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190652807.003.0004.

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The term “dialogism” as used by Mikhail Bakhtin refers not to dialogue in the ordinary sense but to the intermingling of distinct social voices in given stretches of discourse. For Bakhtin, the novel represented the pinnacle of development of such dialogism, whereas epic was the prototypical “monologic” genre. Here I compare what Bakhtin had to say in this respect with recent findings concerning epic-like genres of oral, sung narrative which are found across much of Highland Papua New Guinea. I show that the regional genres that are the most dialogic in the ordinary sense are the least dialogical in Bakhtin’s sense, and vice versa. Contrary to simplistic views of monologic “epic” as the canonical narrative genre in “oral cultures,” the three cases discussed here show how widely even oral genres which are similar in other ways can differ regarding the canonical forms of dialogism and monologism that one finds in them.
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14

Beth, Brait, ed. Bakhtin, dialogismo e construção do sentido. Campinas: Editora da Unicamp, 2003.

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15

Barros, Diana Luz Pessoa de. and Fiorin José Luiz, eds. Dialogismo, polifonia, intertextualidade em torno de Bakhtin. São Paulo, SP, Brasil: EDUSP, 1994.

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16

Bakhtin And His Others Intersubjectivity Chronotope Dialogism. Anthem Press, 2013.

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17

1970-, Blevins Jacob, ed. Dialogism and lyric self-fashioning: Bakhtin and the voices of a genre. Selinsgrove, Pa: Susquehanna University Press, 2008.

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18

Koczanowicz, Leszek. Politics of Dialogue. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748644056.001.0001.

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Contemporary democracy is in crisis. People are losing faith in in a system of democratic institutions that can cope with current social problems. The book sheds new light on this issue, drawing on the ideas of M. M. Bakhtin, American pragmatism, and others to show that dialogue in democracy can transcend both antagonistic and consensual perspectives. The author provides an overview of the history of the dialogue-vs.-antagonism opposition as it is embedded in modern political theory, and outlines the concept of dialogue in contemporary political thought. The author argues that dialogue is a value in and by itself and that it aims at better understanding rather than at consensus. Therefore, the main purpose of the democratic system is to promote better understanding. This idea is labelled as “non-consensual democracy.” The author goes on to demonstrate that Bakhtin’s theory of dialogism can usefully amend and augmet the ways in which community is addressed in political theory, allowing us to overcome allowing us to overcome the liberalism-vs.-communitarianism debate. To conclude, he introduces the concept of |”critical community,” i.e., a "dialogical, self-reflective community critical of its own tradition," to show that collective identities can be constructed in critical dialogue with the tradition and the values of a community.
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19

Tomlinson, Matt, and Julian Millie, eds. The Monologic Imagination. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190652807.001.0001.

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The pioneering and hugely influential work of Mikhail Bakhtin has led scholars in recent decades to see all discourse and social life as inherently “dialogical.” No speaker speaks alone because our words are always partly shaped by our interactions with others, past and future. Moreover, we never fashion ourselves entirely by ourselves but always do so in concert with others. Bakhtin thus decisively reshaped modern understandings of language and subjectivity. And yet, the contributors to this volume argue that something is potentially overlooked with too close a focus on dialogism: many speakers, especially in charged political and religious contexts, work energetically at crafting monologues, single-voiced statements to which the only expected response is agreement or faithful replication. Drawing on ethnographic case studies from the United States, Iran, Cuba, Indonesia, Algeria, and Papua New Guinea, the authors argue that a focus on “the monologic imagination” gives us new insights into languages’ political design and religious force, and deepens our understandings of the necessary interplay between monological and dialogical tendencies.
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20

Tomlinson, Matt. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190652807.003.0001.

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This introductory chapter presents the core argument running through the volume: that monologue and dialogue are projects that implicate each other. The introduction surveys Mikhail Bakhtin’s foundational writings on dialogism and heteroglossia, as well as his attention to monologism in the realms of epic and nationalist projects. It also examines monologue as a form of creative performance that both depends on erasure and attempts to unify speakers in a way that might be called the “repeat after me” phenomenon, with the implication that the only possible forms of uptake are either perfect assent or faithful repetition. In examining these dynamics, the introduction offers examples from China, Fiji, Samoa, and New Zealand before summarizing the chapters to come.
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21

Bowe, David. Poetry in Dialogue in the Duecento and Dante. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198849575.001.0001.

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Poetry in Dialogue in the Duecento and Dante provides a new perspective on the highly networked literary landscape of thirteenth and fourteenth-century Italy. It demonstrates the fundamental role of dialogue between and within texts in the works of four poets who represent some of the major developments in early Italian literature: Guittone d’Arezzo, Guido Guinizzelli, Guido Cavalcanti, and Dante. Rather than reading the cultural landscape through the lens of Dante’s works, significant though they may be, the first part of this study reconstructs the rich network of literary, especially poetic dialogue that was at the heart of medieval writing in Italy before and contemporary with Dante. The second part of the book uses this reconstruction to demonstrated Dante’s engagement with and indebtedness to the dynamics of exchange that characterized the practice of medieval Italian poets. The overall argument of the book, for the centrality of dialogic processes to the emerging Italian literary tradition, is underpinned by a conceptualization of dialogue in relation to medieval and modern literary theory and philosophy of language. By triangulating between Brunetto Latini’s Rettorica, Mikhail Bakhtin’s ‘dialogism’, and as sense of ‘performative’ speech adapted from J. L. Austin, Poetry in Dialogue shows the openness of its corpus to new dialogues and interpretations, highlighting the instabilities of even the most apparently fixed, monumental texts (such as Dante’s Commedia).
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22

D. H. Lawrence's Italian Travel Literature and Translations of Giovanni Verga: A Bakhtinian Reading. Peter Lang Publishing, 2007.

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