Dialogism: Bakhtin and His World (New Accents)
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Holquist's masterly study draws on all of Bakhtin's known writings providing a comprehensive account of his achievement. Widely acknowledged as an exceptional guide to Bakhtin and dialogics, this book now includes a new introduction, concluding chapter and a fully updated bibliography.
He argues that Bakhtin's work gains coherence through his commitment to the concept of dialogue, examining Bakhtin's dialogues with theorists such as Saussure, Freud, Marx and Lukacs, as well as other thinkers whose connection with Bakhtin has previously been ignored.
Dialogism also includes dialogic readings of major literary texts, Mary Shelley's Frankenstein, Gogol's The Notes of a Madman and Fitzgerald's The Great Gatsby, which provide another dimension of dialogue with dialogue.
itself…any unity is its own unity” (Estetika, p.79). In dialogism, the very capacity to have consciousness is based on otherness. This otherness is not merely a dialectical alienation on its way to a sublation that will endow it with a unifying identity in higher consciousness. On the contrary: in dialogism consciousness is otherness. More accurately, it is the differential relation between a center and all that is not that center. Now, a caution is in order here. Serious questions have recently
addition to these poles dialogism enlists the additional factors of situation and relation that make any specific instance of them more than a mere opposition of categories. For the perceivers, their own time is forever open and unfinished; their own space is always the center of perception, the point around which things arrange themselves as a horizon whose meaning is determined by wherever they have their place in it. By contrast, the time in which we model others is perceived as closed and
a small stock of generic prescriptions defining the narrative patterns of public life. Every effort was made to mold the specific details of a man’s existence into the contours of such a normative paradigm. These patterns pre-existed the particular individuals whose lives would be shaped to fit them. A distinction developed between a life that was unique and lacked generic forms for its telling, and the concept of career, which had available to it the formal time/ space categories of the
necessary to choose one of the two clocks showing different times as the standard for positing simultaneity (or non-simultaneity) between them. It follows that in a world where time/space relations are ambiguous, the perceiving subject must make choices, and thus values come into play. Travelling clocks provided a means for Einstein to think relations between things. But almost everything he has to say about such a relationship bears as well on the way dialogism conceives relations between
“full of money,” as Gatsby himself once says (it is the only memorable thing he says). Gatsby is first perceived as he stands on his shore, reaching out in the night to a green light shining across the bay, the green light that is at the end of the pier belonging to Tom Buchanan’s estate. The quest has more to do with Horatio Alger than it does with Chrétien de Troyes. It is further elaborated with associations of frontier: Gatsby’s first patron, whose name evokes Buffalo Bill, is “a product of