Relevant bibliographies by topics / Mikhail Bakhtin

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  1. Journal articles
  2. Dissertations / Theses
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  5. Conference papers

Academic literature on the topic 'Mikhail Bakhtin'

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Published: 4 June 2021
Last updated: 18 May 2024

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Journal articles on the topic "Mikhail Bakhtin"

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Perlina, Nina, Katerina Clark, and Michael Holquist. "Mikhail Bakhtin." Russian Review 45, no. 4 (October 1986): 435. http://dx.doi.org/10.2307/130480.

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Galan, F. W., Katerina Clark, and Michael Holquist. "Mikhail Bakhtin." World Literature Today 60, no. 1 (1986): 136. http://dx.doi.org/10.2307/40141318.

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Gossman, Lionel, Katerina Clark, and Michael Holquist. "Mikhail Bakhtin." Comparative Literature 38, no. 4 (1986): 337. http://dx.doi.org/10.2307/1770394.

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Weinschenk, George. "Mikhail Bakhtin." International Studies in Philosophy 35, no. 2 (2003): 145–47. http://dx.doi.org/10.5840/intstudphil2003352195.

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Freedman, John, Katerina Clark, and Michael Holquist. "Mikhail Bakhtin." Rocky Mountain Review of Language and Literature 39, no. 4 (1985): 281. http://dx.doi.org/10.2307/1347473.

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Makovtsev, Vladimir S. "Fyodor Dostoevsky in the late works of Mikhail Bakhtin." Vestnik Tomskogo gosudarstvennogo universiteta, no. 478 (2022): 44–49. http://dx.doi.org/10.17223/15617793/478/5.

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The author aims to outline the conceptualization of Mikhail Bakhtin's late works. Their essential moment is Bakhtin's specific attitude to works by Fyodor Dostoevsky and to literature as a special part of culture. In this connection, the author understands Bakhtin's philosophy as a philosophy of literature bordering on philosophical anthropology. In the article, using Bakhtin's writings, as well as a number of studies on his works, as material, the author intends to reconstruct the ontological basis of fiction, in the center of which lies the concept of grotesque Bakhtin developed in his book dedicated to Francois Rabelais. Despite the huge amount of literature on Bakhtin's oeuvre, there are no studies on his later works as a separate research space. This applies both to the corpus of texts, since part of the Bakhtin archive has not yet been published and lies in the manuscripts department of the Russian State Library, and to attempts to show the philosophical significance of Bakhtin's late writings by conceptualizing them and bringing them together into a separate intellectual phenomenon. The article attempts to analyze Bakhtin's later works through the prism of his attitude to Dostoevsky's works. The name of Bakhtin is not just associated with the name of Dostoevsky. The Russian philosopher revealed the ontology of Dostoevsky's works, and, since for Bakhtin Dostoevsky's works are the pinnacle of the development of literature, through Dostoevsky's works Bakhtin unfolds literature in its highest manifestation for us. The author substantiates the thesis that the understanding of Bakhtin's late works is based on the ontologization of grotesque, which Bakhtin himself indicates indirectly, not explicitly. The author also shows that Bakhtin sees literature, the subject matter of his research, as a purpose, as a special part of culture that reflects the ultimate embodiment of the human principle, and not an example in his theoretical constructions. Bakhtin's attitude to Dostoevsky is primarily reflected in his book about Dostoevsky in two editions. However, it would be wrong to reduce this attitude only to this book. In a broad sense, all of Bakhtin's philosophical works can be reduced to a certain hermeneutics of Dostoevsky due to the presence of a close and organic connection between concepts and ideas in Bakhtin's works, as well as the fact that Dostoevsky for Bakhtin is a key figure in his philosophical legacy. However, in the present article, based on a late interview, the author of the article reconstructs Bakhtin's thoughts about Dostoevsky that outline, among other things, an important topic in the field of Bakhtin's hermeneutics - the role of Dostoevsky's reader.
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Dolgorukova, Natalia M. "On Early Russian Reception of Mikhail Bakhtin’s Work." Dostoevsky Journal 16, no. 1 (April 25, 2015): 79–91. http://dx.doi.org/10.1163/23752122-01601010.

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“The whole history of Russian thought during the Soviet period was a history with missing chapters”.1 One of such missing chapters is a history of the Soviet reception of the corpus of work created by Mikhail M. Bakhtin, Soviet thinker and literary critic (1895—1975). The history of the Soviet reception of Bakhtin’s ideas has not been written yet and there are no works on the subject. There is Zbinden’s book,2 which deals with research about some particular cases of Bakhtin studies in Canada and in French translations. Despite the fact that in the 1960–1980s the «theory of carnival» became, in the words of S.S. Averintsev, a «regular classic» and the subject of citation for any specialists in the humanities, the reception of Bakhtin’s ideas in the Soviet Union was not successful: all of his contemporaries and conversation partners could not come into proper contact with the Soviet thinker. The present working paper is an attempt to reconstruct one case from the history of the Soviet reception of Bakhtin’s heritage, using the works of Vladimir N. Turbin (1927—1993) as an example. The study examines Turbin’s books A Short While Before Aquarius: A Farewell to Epos and his articles from different years (including those published posthumously), relating to Bakhtin, his life, theories, ideas and books. All these works will answer the question why the Soviet reception of Bakhtinʼs heritage in the 1960–1970 did not take place, and why the book, which Turbin wanted to write about his teacher, has not been written.
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Smirnov, Sergei. "MIKHAIL BAKHTIN: THE AUTHOR'S REVIVAL." Literaturovedcheskii Zhurnal, no. 4 (2021): 79–99. http://dx.doi.org/10.31249/litzhur/2021.54.05.

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The article presents an analysis of the autobiographical experience of the philosopher and thinker M.M. Bakhtin, done by him in the word, in the oral genre of the utterance. It is shown that, despite the refusal of the philosopher to compose memories of himself, he made a unique experience of oral storytelling, taking place in the Voice. In this context, the author of the article analyzes the main ideas of Bakhtin concerning his concept of the author and the hero through the prism of the problem of autobiography and self-report-confession, in which I and the other are the main architectonic limits. It is presented that Bakhtin himself applied the genre of self-report-confession to his personal experience of telling about himself, choosing for this the appropriate tonality of the story, the tonality of prayer-repentance. The problem of understanding Bakhtin's philosophy is shown, referring to various kinds of reductions associated with the fact that the interpretation of his philosophy takes place within the framework of the interpretation of texts and sketches. At the same time, a participatory understanding of him as an author should consist in hearing through the text his unique intonation, his author's voice.
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Petrilli, Susan. "Dialogue, responsibility and literary writing: Mikhail Bakhtin and his Circle." Semiotica 2016, no. 213 (November 1, 2016): 307–43. http://dx.doi.org/10.1515/sem-2015-0094.

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AbstractMikhail Bakhtin cannot be discussed without discussing his friends and collaborators forming the Bakhtin Circle. The name Bakhtin itself announces a polyphony of different voices and viewpoints, internally to Bakhtin’s own voice and externally, all evidencing the word’s capacity for dialogism and otherness, the possibility of cohabitation and interference among different voices in the same word, the propensity for participative listening, ultimately the inevitability of responsiveness/responsibility toward the other, that is, the other’s singularity. The name “Bakhtin” or, better, the expression “Bakhtin Circle,” offers a concrete perspective for a world constructed in terms of multiplicity, diversity, and hospitality toward the other. This essay presents some characteristic aspects of Bakhtinian philosophy, keeping account of the writings collected in the 2014 bilingual volume Opere 1919–1930, presented by the renowned Italian Bakhtin scholar Augusto Ponzio.
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Andrew, Dudley, and Tzvetan Todorov. "Mikhail Bakhtin: The Dialogical Principle." Journal of the Midwest Modern Language Association 18, no. 2 (1985): 41. http://dx.doi.org/10.2307/1315187.

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Dissertations / Theses on the topic "Mikhail Bakhtin"

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Flanagan, Martin James. "Mikhail Bakhtin and Hollywood film." Thesis, University of Sheffield, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366117.

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Camargo, Junior Ivo di. "Mikhail Bakhtin na linguagem cinematográfica." Universidade Federal de São Carlos, 2018. https://repositorio.ufscar.br/handle/ufscar/10852.

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This thesis aims to bring together some of the various concepts of Mikhail Bakhtin's broad range of studies and to correlate them with film language. On the studies carried out in a broad and unorganized manner completely by Robert Stam, a North American researcher dedicated to both Bakhtin and cinema, both as aesthetics and as language, we developed the junction of theories in a dialogical work. In this thesis we bring together the most diverse forms of expression of Bakhtinian thought and try to exemplify them, to demonstrate them, to give them a more understandable form of understanding, using the cinematographic language as another in this intellectual theoretical dialogue. Knowing that cinema and its language were never the intellectual goal of Bakhtin, we approach his theory in a dialogical way, in the pursuit of cinema as alterity. It was observed the polyphony present in the cinematographic works and of Mikhail Bakhtin, among other possible dialogues. A study was developed which sought to further enrich Bakhtinian studies in our country and which is presented as a thesis that addresses the dialogue, understanding and convergence between the forms of study, with a common objective, to demonstrate the feasibility and of Bakhtinian concepts in a living, multidisciplinary and dialogic art that is cinema.
Esta tese tem como objetivo oferecer suporte para relações dialógicas entre a ampla rede de conceitos desenvolvidos por Mikhail Bakhtin e a linguagem cinematográfica, ao discutir, operacionalizar e reunir, ética e esteticamente, a obra bakhtiniana a um grupo variado de filmes. Para isto, partimos da experiência comprovada do pesquisador estadunidense Robert Stam e seus estudos sobre cinema e Bakhtin, com o qual se buscou estabelecer diálogo para o desenvolvimento de um trabalho dialógico tanto como linguagem quanto esteticamente na busca de desenvolver em maior grau ideias que o pesquisador ofereceu como proposta, porém não como análise profunda. Dessa forma, buscou-se também expor nesta tese as mais variadas formas de expressão do pensamento bakhtiniano de modo a exemplificá-los, comprová-los e dar-lhes uma forma de entendimento sempre buscando a compreensibilidade dentro da linguagem cinematográfica, assumindo relação de alteridade para com esta dentro do diálogo intelectual. Ao considerar que o cinema e sua linguagem não foram objeto de análise ou pesquisa de Bakhtin, tendo sido somente objeto de entretenimento para o mesmo, esta tese se propõe dialogicamente relacionar sua teoria junto à linguagem cinematográfica em relação clara de alteridade, observando a polifonia presente nas obras fílmicas e outros conceitos como carnavalização, dentre outros possíveis. Por fim, desenvolveu-se um trabalho que buscou enriquecer o legado intelectual de Mikhail Bakhtin e seu círculo em nosso país, propondo uma tese sobre o diálogo, o entendimento e as convergências entre as formas de estudo realizadas, com o objetivo de comprovar a viabilidade e atualidade dos conceitos do filósofo russo em uma arte viva, multidisciplinar e dialógica que é a sétima arte ou o cinema.
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Beasley-Murray, Timothy. "Mikhail Bakhtin and Walter Benjamin : experience and form." Thesis, University College London (University of London), 2006. http://discovery.ucl.ac.uk/1445314/.

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This thesis is a study of the thought of two philosophers and literary and cultural critics: Mikhail Bakhtin (1895-1975) and Walter Benjamin (1892-1940). Despite the elements of incommensurability that exist between them, I argue that the thought of the one may be brought to revitalize and reilluminate the thought of the other. Bakhtin's and Benjamin's thought centres on the problems that arise from a dislocation of the nature of experience from the forms which enable human beings to make sense of that experience. Setting their work in the context of their times and of the philosophical tradition that they inherit, I examine their response to this dislocation through a discussion of their conceptions of habit, tradition, language and art. Closed forms (epic and monologue, for example, in the case of Bakhtin the traditional auratic work of art or the Romantic symbol, for example, in the case of Benjamin) provide a completion of experience that fixes experience within the flux of life. Nevertheless, forms such as these, both thinkers conclude, are implicated in social and political hierarchies and result in an objectification of human beings and the world that they inhabit. The thesis examines Bakhtin's and Benjamin's development of theories of open forms which challenge completion: dialogue and the novel, in the case of Bakhtin allegory and montage, in the case of Benjamin. I argue that the two thinkers' conceptions of such forms promote the preservation of (inter)subjectivity, the dismantling of authoritarian hierarchies and a responsible relationship between the conferring of form and the integrity of experience. Finally, I suggest that Bakhtin's and Benjamin's promotions of openness might be provisional positions which are predicated on a future completion that will come on either the eschatological or the revolutionary plane.
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Handley, William R. "A poetics of freedom : Virginia Woolf and Mikhail Bakhtin." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260632.

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Al-Ali, Mohammad Riyad. "Mikhail Bakhtin, Jacques Derrida, and the dialogics of answerability." Thesis, University of Essex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.418331.

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Antinora, Sarah Hill. "Frank Zappa and Mikhail Bakhtin: Rabelais's carnival made contemporary." CSUSB ScholarWorks, 2008. https://scholarworks.lib.csusb.edu/etd-project/141.

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For this project, the author uses Bakhtin's theory of carnival to illuminate Zappa's sound and rhetoric. The author hopes that by using this theoretical lens allows audiences to understand Zappa's choices in subject matter. Those who can see his work as satire and understand the use of carnivalesque techniques in challenging authority see the genius in his work.
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Zbinden, Karine Gilberte Verena. "The cross-cultural transmission of works by Mikhail Bakhtin and the Bakhtin circle : missing sociality." Thesis, University of Sheffield, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369837.

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Poddar, Prem K. "Mikhail Bakhtin`s theories: reception, revisions, (Re) Readings, and (Re) deployments." Thesis, University of North Bengal, 1991. http://hdl.handle.net/123456789/1192.

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Andrade, Ecchio Claudia. "Mikhail Bakhtin e Iuri Lotman: dos pensadores de la posmodernidad." Tesis, Universidad de Chile, 2006. http://www.repositorio.uchile.cl/handle/2250/108896.

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Dentro del contexto de los estudios literarios actuales, las figuras más reconocidas de la eslavística rusa son Mikhail Mijáilovich Bakhtin (1895–1975) e Iuri Mijáilovich Lotman (1922–1993). Por una parte, ambos han sido gestores de críticas profundas a los llamados “grandes metarrelatos modernos”, entre ellos el formalismo ruso, el marxismo, la lingüística tradicional, etc.; y, por otra, han elaborado nuevas concepciones teóricas que han sido capaces de transformar, de manera radical y definitiva, la forma de ver y estudiar tanto la literatura como el arte. En este estudio, por tanto, se redescubre a un brillante pensador como Bakhtin y se conoce a un relevante semiótico como Lotman, teórico prácticamente desconocido en los círculos académicos chilenos. La idea fundamental de esta tesis es dar cuenta del desarrollo histórico y del cambio epistemológico producido en la época posmoderna, desde el punto de vista de las contribuciones realizadas tanto por Bakhtin como por Lotman a los estudios literarios. De esta manera, se muestra, a través de un estudio descriptivo–comparativo, que dicha importancia radica en que ambos pensadores permiten la constitución de una línea de pensamiento que devela, en primer término, las transformaciones producidas en la época posmoderna y, en segundo término, los cambios acontecidos en la teoría literaria durante el siglo XX.
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Hicks, Jeremy Guy. "Mikhail Zoshchenko and the poetics of 'Skaz'." Thesis, University College London (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322812.

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Books on the topic "Mikhail Bakhtin"

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Gardiner, Michael. Mikhail Bakhtin. 1 Oliver's Yard, 55 City Road, London EC1Y 1SP United Kingdom: SAGE Publications Ltd, 2003. http://dx.doi.org/10.4135/9781446262535.

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Michael, Holquist, ed. Mikhail Bakhtin. Cambridge Mass: Harvard U.P., 1986.

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1961-, Gardiner Michael, ed. Mikhail Bakhtin. London: SAGE, 2003.

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Mikhail Bakhtin. Santa Cruz, CA, USA: Reference and Research Services, 1988.

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ėnt︠s︡iklopedii︠a︡", Assot︠s︡iat︠s︡ii︠a︡ "Rossiĭskai︠a︡ politicheskai︠a︡, ed. Mikhail Mikhaĭlovich Bakhtin. Moskva: ROSSPĖN, 2010.

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Beasley-Murray, Tim. Mikhail Bakhtin and Walter Benjamin. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230589605.

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Danow, David K. The Thought of Mikhail Bakhtin. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21662-8.

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translator, Tian Yan, ed. Dao du Bahejin: Mikhail Bakhtin. Chongqing Shi: Chongqing da xue chu ban she, 2017.

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Caryl, Emerson, ed. Critical essays on Mikhail Bakhtin. New York: G.K. Hall, 1999.

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Bibler, V. S. Mikhail Mikhaĭlovich Bakhtin, ili, Poėtika kulʹtury. Moskva: Izd-vo "Progress", 1991.

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Book chapters on the topic "Mikhail Bakhtin"

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White, E. Jayne. "Mikhail Bakhtin." In Theories of Early Childhood Education, 159–79. 2nd ed. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003288077-16.

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Björklund, Martina. "Mikhail Bakhtin." In Handbook of Pragmatics, 1–18. Amsterdam: John Benjamins Publishing Company, 2002. http://dx.doi.org/10.1075/hop.6.bak1.

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Björklund, Martina. "Mikhail Bakhtin." In Philosophical Perspectives for Pragmatics, 38–52. Amsterdam: John Benjamins Publishing Company, 2011. http://dx.doi.org/10.1075/hoph.10.04bjo.

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Turner, Elizabeth. "Mikhail Bakhtin." In The Discourse of Protest, Resistance and Social Commentary in Reggae Music, 36–54. London: Routledge, 2021. http://dx.doi.org/10.4324/9780367823559-3.

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White, E. Jayne. "Mikhail Bakhtin." In Theories of Early Childhood Education, 131–48. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315641560-11.

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Emerson, Caryl. "Bakhtin, Mikhail Mikhailovich." In Encyclopedia of Contemporary Literary Theory, edited by Irena Makaryk, 242–45. Toronto: University of Toronto Press, 1993. http://dx.doi.org/10.3138/9781442674417-061.

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Danow, David K. "Bakhtin and His Circle." In The Thought of Mikhail Bakhtin, 3–19. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21662-8_1.

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Rule, Peter Neville. "Mikhail Bakhtin and Ideological Becoming." In Educational Futures, 29–41. Rotterdam: SensePublishers, 2015. http://dx.doi.org/10.1007/978-94-6300-160-1_3.

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Harrison, Keith. "William Shakespeare and Mikhail Bakhtin: Filming Dialogically." In Shakespeare, Bakhtin, and Film, 1–26. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-59743-0_1.

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Danow, David K. "Bakhtin’s Concept of the Word." In The Thought of Mikhail Bakhtin, 21–41. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21662-8_2.

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Conference papers on the topic "Mikhail Bakhtin"

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Veinberg, Sandra. "MIKHAIL BAKHTIN�S DIALOGISM IN MEDIA COMMUNICATION." In 6th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgemsocial2019v/2.1/s10.030.

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Piva Jr., Dilermando, and Ricardo L. Freitas. "Linguagem Dialógica Instrucional: A (Re)Construção da Linguagem para Cursos Online." In Workshop de Informática na Escola. Sociedade Brasileira de Computação - SBC, 2010. http://dx.doi.org/10.5753/wie.2010.25394.

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Este artigo apresenta a base teórica da conceituação da "linguagem dialógica instrucional" para ser utilizada em EaD, sedimentada em duas correntes de pensamento: de um lado a "educação dialógica" de Paulo Freire e de outro a "dialogicidade da língua" de Mikhail Bakhtin. Em seguida, são descritos os princípios fundamentais da (re)construção dos objetos de aprendizagem destinados a cursos online, o qual denominamos de "linguagem dialógica instrucional" - LDI.
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Costa, Alzira Alzeni Borges de Andrade, and Eduardo Filgueiras Damasceno. "Avaliação do Docente do Ensino Médico de algumas Universidades Brasileiras sobre sua adaptação durante ao ensino emergencial – Uma visão sob o olhar do filósofo Mikhail Bakhtin." In ​III SEVEN INTERNATIONAL CONGRESS OF HEALTH. Seven Congress, 2023. http://dx.doi.org/10.56238/homeiiisevenhealth-074.

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O gênero Ensino Médico tem as Metodologias Participativas de Ensino (MAP) e ferramentas online como parte do ensino em algumas Universidades. Mas a pandemia da COVID-19 tornou-os generalizados. Este estudo avaliou, pelo método qualitativo experiencial, as percepções de professores de cursos médicos de Universidades dos estados do Paraná e da Paraíba – Brasil, captando dados positivos e negativos dessa experiência e sua visão de futuro, correlacionando-os com a filosofia de Mikhail Bakhtin. Os resultados mostraram um alto índice de adaptação, mas com evidente necessidade de organização do espaço ambiental e logístico para obter a competência e habilidade necessárias para promover a metodologia de Ensino Remoto. Em suma, o gênero Ensino Médico possui uma vivacidade dialógica que, apesar da abrupta adaptação histórica e da introdução de uma variedade de outros gêneros em seu contexto, manteve seu estilo.
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Leão, Carolina Morgado, and Claudiney Rodrigues Carrasco. "La influencia imagética en ''Las Trillizas de Belleville''." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.5699.

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El objetivo de este trabajo es interpretar las referencias visuales contenidas en la animación ''Les Triplettes de Belleville'' (2003), de Sylvain Chomet. La comprensión será hecha a través de un análisis en el ámbito de la imagen y comunicacional: el aspecto visual expone en la película referencias puntuales a diversos artistas franceses y estadounidenses. Con este tipo de análisis es posible contextualizar y entender pequeños signos producidos a lo largo de la película. Un examen detallado revela cómo la narrativa posee un carácter cómico y crítico. Utilizaremos el concepto de “signo” de Mikhail Bakhtin para articular estas referencias de la imagen y para comprender su fuerza en la composición cómica y crítica de la narrativa en cuestión. Al utilizar diferentes formas de relacionar los signos visuales, el largo metraje explora una naturaleza lúdica, que forma parte de la narrativa y refuerza el sentido dramático. Por tanto, este análisis que profundiza en el estudio de los signos de la imagen, resultará en la comprensión de los valores y la creación de los sentidos construidos en la animación. http://dx.doi.org/10.4995/ANIAV.2017.5699
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Sousa, Joanice Soares de. "The argumentation through the gender sentence of pronunciation in crimes of femicide." In III SEVEN INTERNATIONAL MULTIDISCIPLINARY CONGRESS. Seven Congress, 2023. http://dx.doi.org/10.56238/seveniiimulti2023-179.

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This work aims to investigate the presence of machismo and patriarchy in sentences of pronunciations produced by judges of law, within the processing of femicide processes. The proposed theme starts from something frequent in the Brazilian news. Despite the advancement of criminal legislation, with the contributions of the Maria da Penha Law (2021), the rates of sexual violence, physical aggression, threat and femicide continue to be socially evident, in this sense, to deal with this issue is to break patriarchal paradigms imposed in the social environment before the female figure. Under this bias, it is understood that violence against women is rooted in society and the measures proposed by government bodies do not seem to be sufficient to decrease the rate of alarming cases of deaths related to women in Brazil. In this sense, it is intended to analyze the constitution of the interlocutors, the argumentative structure and the presence of machismo in these sentences, making use of theoretical-methodological tools such as the Theory of Argumentation in Discourse to analyze the statements of the accused, the arguments of the defense and the arguments of the Prosecutor's Office, which are articulated and retextualized by the judge of law in the formulation of the sentence of pronunciation. Thus, we rely theoretically on authors such as Fiorin (2015), who explains about argumentation, Ruth Amossy (2018), with argumentation in discourse, Gerda Lerner (2019) who comments on the creation of patriarchy and Mikhail Bakhtin (2006), who reflects on the issue of the gender of discourse, which results in a "relatively stable" standard form of a statement, pointing out that we communicate, speak, and write across genres. The results of the research are still partial, because now, it is in the phase of constitution of the corpus.
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Elias, Larissa, and Maria Luisa Garrido. "A concepção de “escultura-moda” no figurino de Rei Kawakubo para a coreografia “Cenário” (1997)." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.118.g187.

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A “escultura-moda“, de Rei Kawakubo, é um projeto de mestrado em andamento, desenvolvido no Programa de Pós-Graduação em Design Visual da Universidade Federal do Rio de Janeiro. A pesquisa está centrada no estudo dos trajes (e sua relação com os movimentos e espacialidade) elaborados pela estilista japonesa Rei Kawakubo para a performance de dança “Scenario” (1997), do bailarino e coreógrafo americano Merce Cunningham (1919-2009). Os figurinos foram adaptados da coleção primavera-verão “Corpo encontra vestido, vestido encontra corpo”, desenhada por Rei e lançada por sua marca Comme des Garçons em 1997. Rei Kawakubo é apontada como uma das mais importantes estilistas conceituais da moda contemporânea. Visionária, vanguardista, atemporal, são alguns dos adjetivos que lhe são atribuídos. Seu trabalho também é chamado de antimoda. Por meio de uma série de desconstruções visuais, suas criações abordam — direta ou indiretamente — temas como feminismo e identidade de gênero. A coleção “Corpo encontra vestido, vestido encontra corpo” e os figurinos de “Scenario” investem em uma estética que explora possibilidades inusitadas de relações entre corpo e vestido; uma estética que visa deformar as formas. Em jogo, ideias que problematizam os contornos e movimentos convencionais do corpo: volumes desproporcionais, desalinhamentos de silhuetas, inversões de perspectiva, assimetrias, automatismo, indefinição das fronteiras entre corpo e vestido, vestido como objeto. É nesta arena que nasce a sugestão da noção de “escultura-moda”. Uma noção que se pretende formular a partir da obra e para a compreensão da obra. Propõe-se, neste sentido, uma aproximação com a concepção de escultura trabalhada por Deleuze e Guattari no ensaio “Percepção, afeto e conceito”; com o conceito de “über-marionette” de Gordon Craig; e com o conceito de “grotesco”, baseado nas considerações de Mikhail Bakhtin. Os figurinos da performance de dança “Scenario” — objeto deste estudo, em que os aspectos destacados podem ser observados exemplarmente — são uma forte expressão da ideia de “escultura-moda”. Nesta comunicação, serão apresentados fragmentos da seção final do espetáculo. Neles, pode-se perceber que o alinhamento dos bailarinos, em pares ou trios, reconfigura no espaço o volume composto por corpo e vestido. As roupas criadas por Kawakubo para a Coleção propunham o redesenho do corpo. Essa proposta se radicaliza na coreografia: com o movimento do body-dress ambientado no espaço, distorções e ambiguidades se intensificam. A teatralidade é introduzida e composições esculturais dramáticas são formadas. Com o jogo teatral, a função objeto da vestimenta também é evidenciada.
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Elias, Larissa, and Maria Luisa Garrido. "La concepción de “moda-escultura” en el vestuario de Rei Kawakubo para la coreografía “Scenario” (1997)." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.118.g186.

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“La ‘moda-escultura’ de Rei Kawakubo” es un proyecto de maestría en curso, desarrollado en el Programa de Posgrado en Diseño Visual de la Universidad Federal de Río de Janeiro. La investigación se centra en el estudio del vestuario (y su relación con los movimientos y la espacialidad) creado por la diseñadora de moda japonesa Rei Kawakubo para el espectáculo de danza “Scenario” (1997), de la bailarina y coreógrafa estadounidense Merce Cunningham (1919-2009). El vestuario fue adaptado de la colección primavera-verano “El cuerpo se encuentra con el vestido, el vestido se encuentra con el cuerpo”, diseñado por Rei y lanzado por su marca Comme des Garçons en 1997. Rei Kawakubo es conocida como una de las diseñadoras de moda conceptualista más importantes de la actualidad. Visionaria, vanguardista y atemporal son algunos de los adjetivos que se le atribuyen. Su trabajo también es denominado antimoda. A través de una serie de deconstrucciones visuales, sus creaciones abordan, directa o indirectamente, temas como el feminismo y la identidad de género. La colección “El cuerpo se encuentra con el vestido, el vestido se encuentra con el cuerpo” y los trajes de “Scenario” invierten en una estética que explora posibilidades inusuales de relaciones entre cuerpo y vestido; una estética que pretende deformar las formas. En la obra aparecen ideas que problematizan los contornos y movimientos convencionales del cuerpo: volúmenes desproporcionados, desalineaciones de siluetas, inversiones de perspectiva, asimetrías, automatismos, desdibujamiento de fronteras entre cuerpo y vestido, el vestido como objeto. En este campo nace la sugerencia de la noción de “moda-escultura”. Una noción que se pretende formular a partir de la obra y para la comprensión de la obra. Se propone, en este sentido, una aproximación a la concepción de escultura trabajada por Deleuze y Guattari en el ensayo “Percepción, afecto y concepto”, con el concepto de “über-marionette” de Gordon Craig y el concepto de “grotesco”, basado en las consideraciones de Mikhail Bakhtin. El vestuario del espectáculo de danza “Scenario” —objeto de este estudio, en el que se pueden observar ejemplarmente los aspectos destacados— es una fuerte expresión de la idea de “moda-escultura”. En esta comunicación se presentarán fragmentos de la sección final de la muestra. En ellos se puede apreciar que la alineación de los bailarines en parejas o tríos reconfigura en el espacio el volumen compuesto por cuerpo y vestido. La ropa creada por Kawakubo para la colección proponía el rediseño del cuerpo. Esta propuesta se radicaliza en la coreografía: con el movimiento del body-dress ambientado en el espacio se intensifican las distorsiones y ambigüedades. Se introduce la teatralidad y se forman dramáticas composiciones escultóricas. Con el juego teatral también se evidencia la función objeto de la prenda.
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Elias, Larissa, and Maria Luisa Garrido. "The conception of “fashion-sculpture” in Rei Kawakubo’s costumes for the choreography “Scenario”(1997)." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.118.

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“The Rei Kawakubo's fashion-sculpture” is an ongoing Master's project, developed at the Postgraduate Program in Visual Design at the Federal University of Rio de Janeiro. The research is centered on the study of the costumes (and its relationship with movements and spatiality) created by the japanese fashion designer Rei Kawakubo for the dance performance “Scenario” (1997), by the american dancer and choreographer Merce Cunningham (1919-2009). The costumes were adapted from the spring-summer Collection “Body meets dress, dress meets body”, designed by Rei and launched by her brand Comme des Garçons in 1997. Rei Kawakubo is appointed as one of the most important conceptualist fashion designers of contemporary. Visionary, avant-garde, timeless, are some of the adjectives attributed to her. Her work is also called anti-fashion. Through a series of visual deconstructions, her creations address – directly or indirectly – themes such as feminism and gender identity. The “Body meets dress, dress meets body” Collection and the costumes of “Scenario” invest in an aesthetic that explores unusual possibilities of relationships between body and dress; an aesthetic which aims to deform the forms. At play, ideas that problematize the conventional contours and movements of the body: disproportionate volumes, silhouette misalignments, inversions of perspective, asymmetries, automatism, blurring of boundaries between body and dress, dress as an object. In this arena the suggestion of the notion of “fashion-sculpture” is born. A notion that is intended to be formulated from the work and for the understanding of the work. The investigation is developed from case study methodologies combined with a process of practical experimentation, which takes place simultaneously in the fields of art and design. In the scope of theoretical reflections it is proposed an approximation with the understanding of sculpture as a compound of sensations according to the Deleuze and Guattari conception in the essay “Percept, affect and concept”. The research seeks to establish a connexion between the sculptural compositions produced by the body-costume ensemble in Cunningham's choreography and the symbolic image of a stone sculpture that is at the origin of the concept of Über-Marionette designed by Gordon Craig. Finally, we try to think about possible relationships between the shapes of the costumes and some characteristic aspects of the grotesque body, such as ambivalences, oppositions, irregularities, described by Mikhail Bakhtin in his concept of grotesque realism. The costumes of the “Scenario” dance performance – in which the highlighted aspects can be observed exemplarily – are a strong expression of the idea of “fashion-sculpture”. In this communication, fragments of the show will be presented. In them, it can be seen that the alignment of the dancers, in pairs or trios, reconfigures in the space the volume composed of body and dress. The clothes created by Kawakubo for the Collection proposed the redesign of the body. This proposal is radicalized in the choreography: with the movement of the body-dress set in space, distortions and ambiguities are intensified. Theatricality is introduced and dramatic sculptural compositions are formed. With the theatrical game, the object function of the garment is also evidenced.
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Duleba, M. "ON THE IMPLICATION OF MIKHAIL BAKHTIN'S «GROTESQUE BODY» TO THE SCHOLARLY COMPREHENSION OF JOACHIM RINGELNATZ'S PROSE." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. Publishing House of Tomsk State University, 2020. http://dx.doi.org/10.17223/978-5-94621-901-3-2020-110.

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Allaymoun, Mohammad. "ANALYSIS OF DISCOURSE THREADING AND INTER-ANIMATION IN CSCL CHATS." In eLSE 2014. Editura Universitatii Nationale de Aparare "Carol I", 2014. http://dx.doi.org/10.12753/2066-026x-14-020.

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This paper presents a system for the analysis of discourse threading in chats based on the polyphonic model. The approach is based on the investigation into the usage of cue phrases as a basis to determine rhetorical schemas implying frequent words. The goal is to offer a basis for analyzing discourse threading, inter-animation, cohesion and coherence in "Computer - Supported Collaborative Learning" ( CSCL ) chats, according to the ideas of Mikhail Bakhtin's dialog theory and Stefan Trausan-Matu's polyphonic model. The used chat environment is that used in the Virtual Math Temas ( VMT ) project, which supports and helps the appearance of multiple threads by providing explicit reference facilities. In our system, we first analyze the dialogue for the identification of its topics and discussion threads (repeated words).Then we such find cue phrases and use them to detecting rhetorical schemata. Furthermore we detect the links between threads that are important for CSCL in order to analyze the involvement of students in the chat and their ability to problem solving. Additionally, we shall study links resulting from the model in order to generate be student feedback. The distribution of rhetorical schemata may be an indicate of cohesion and coherence .The paper analyzes chats from the K-Teams laboratory at University Politehnica of Bucharest . The system is using Stanford NLP software in order to process chats : tokenization, stemming, part of speech tagging, remove stop word, parsing, named-entity recognition ( NER ) and the rhetorical relations that are used.
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