Journal articles: 'Mikhail Bakhtin'

1

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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O'Brien, John, Tzvetan Todorov, and Wlad Godzich. "Mikhail Bakhtin: The Dialogical Principle." Modern Language Review 81, no. 3 (July 1986): 811. http://dx.doi.org/10.2307/3729276.

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Schuster, Charles I. "Mikhail Bakhtin as Rhetorical Theorist." College English 47, no. 6 (October 1985): 594. http://dx.doi.org/10.2307/377158.

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Emerson, Caryl, Tzvetan Todorov, and Wlad Godzich. "Mikhail Bakhtin: The Dialogical Principle." Comparative Literature 38, no. 4 (1986): 370. http://dx.doi.org/10.2307/1770400.

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14

Dickerson, Paul. "Humpty Dumpty meets Mikhail Bakhtin." Journal of Pragmatics 27, no. 4 (April 1997): 527–30. http://dx.doi.org/10.1016/s0378-2166(97)83635-1.

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Craig Howes. "Mikhail Bakhtin (review)." Biography 9, no. 2 (1986): 180–83. http://dx.doi.org/10.1353/bio.2010.0782.

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BRAIT, BETH. "MIKHAIL BAKHTIN: AUTOR E PERSONAGEM." Revista USP, no. 39 (November 30, 1998): 158. http://dx.doi.org/10.11606/issn.2316-9036.v0i39p158-172.

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Santana, Daniel Batista, Everton William De Lima Silva, and Flávio José Souza Silva. "MIKHAIL BAKHTIN NA LINGUAGEM CINEMATOGRÁFICA." Open Minds International Journal 4, no. 4 (December 11, 2023): 61–67. http://dx.doi.org/10.47180/omij.v4i4.273.

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18

Schuster, Charles I. "Mikhail Bakhtin as Rhetorical Theorist." College English 47, no. 6 (October 1, 1985): 594–607. http://dx.doi.org/10.58680/ce198513257.

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Nuto, João Vianney Cavalcanti. "Mikhail Bakhtin and ancient greek culture." Revista Archai, no. 3 (2009): 69–73. http://dx.doi.org/10.14195/1984-249x_3_7.

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20

Emerson, Caryl. "THE FAD FOR BRINGING BAKHTIN DOWN (AND WHERE IT GOES WRONG)." Literaturovedcheskii Zhurnal, no. 4 (2021): 194–211. http://dx.doi.org/10.31249/litzhur/2021.54.12.

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Any boom calls forth a backlash and a trashing - and Bakhtin has been trashed often, for many reasons. In this article I consider the recent biography of Bakhtin written by Aleksei Korovashko in the history of anti-Bakhtinistics, and attempt to evaluate the “Korovashko tactic”: where, in my view, it goes wrong, and what lessons we might learn from it in light of Bakhtin’s teaching (especially his theory of love). I then discuss two more productive approaches to criticizing Bakhtin: one devoted to Bakhtin and the body (Dick McCaw), the other to Bakhtin and the spirit (Mikhail Epstein).

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Voronina, Natalia, Svetlana Dubrovskaya, Irina Klyueva, and Andrey Sychev. "Musical world of Mikhail Bakhtin as objectivation of the idea of cultural synthesis." SHS Web of Conferences 72 (2019): 03037. http://dx.doi.org/10.1051/shsconf/20197203037.

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Researchers repeatedly noted that M.M. Bakhtin’s works are characterized by integration of musical culture into theoretical discourse, which is expressed in his appeal to the conceptual sphere of musical art and use of musical terminology as an instrument of literary, aesthetic, and cultural analysis. However, when examining Bakhtin’s connection with music, researchers, as a rule, discuss “music in general”, without specifying which music Bakhtin used to listen. The paper discusses the phenomenon of “the musical world of Bakhtin”, including his music experience, personal and creative contacts with musicians. The authors find out musical sources of Bakhtin’s creative intuitions. Based on the study of Bakhtin’s collection of gramophone records (now located in the M. M. Bakhtin Center of the Mordovia State University), published and oral memories of people personally communicating with Bakhtin, and other sources, his individual musical preferences are identified, and the circle of his favorite composers and performers is determined. It is emphasized that the phenomenon of the “Bakhtin’s musical world” is a “marker” of his commitment to the tendency of interaction and synthesis of arts, intermediality, and the objectification of the idea of cultural synthesis, which was one of the prevailing philosophical and cultural intuitions of Russian symbolism.

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Osovsky, O. "THE KNOW-HOW OF THE BIOGRAPHICAL GENRE." Voprosy literatury, no. 3 (October 1, 2018): 62–83. http://dx.doi.org/10.31425/0042-8795-2018-3-62-83.

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The article offers a detailed examination of Mikhail Bakhtin’s biography by A. Korovashko, which came out in The Lives of Remarkable People series [Zhizn’ zamechatelnykh lyudey, ZhZL] in 2017.M. Bakhtin’s life and legacy have always sparked keen interest among Russian and foreign scholars alike, but his biography still holds its secrets and, despite the efforts of M. Holquist and K. Clark, of S. and L. Konkin, N. Nikolaev, N. Pankov, I. Popova, and others, a comprehensive scholarly version is missing to this day.With his ideas permeating the global intellectual environment and his theories influencing the modern studies of human sciences, Bakhtin is a preeminent contemporary thinker. It is only natural, therefore, that his biography by A. Korovashko, entitled Mikhail Bakhtin, was published in the ZhZL series.In his attempt to offer his own view and interpretation of the scholar’s lifetime and the historical and cultural context of his research, Korovashko decided to debunk what he calls ‘the Bakhtin myth’ and undermine the so-called ‘Bakhtin industry’. However, his unusual manner of ironic narration and a penchant for literary reimagining of the subjects lead to the emergence of factual errors and inaccuracies, while the author’s rhetoric of demystification frustrates any professional and competent analysis of Bakhtin’s theories.

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23

Moreira, Elisabet. "Reconstruindo Bakhtin." Revista ComSertões 11, no. 1 (August 10, 2022): 61–74. http://dx.doi.org/10.36943/comsertoes.v11i1.12192.

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Resumo: Ensaio em que se entrelaçam contribuições teóricas de Mikhail Bakhtin, como foram destacadas por Cristovão Tezza (2003) em sua tese de doutorado “Entre a prosa e a poesia: Bakhtin e o formalismo russo”, e um discurso rememorativo da trajetória pessoal da autora, dialogando com outras referências, destacando a inconclusibilidade da obra bakhtiniana e o caráter responsivo do papel dialógico da linguagem, seja prosa ou poesia.

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Makhlin, Vitaliy. "“CREATING CONSCIOUSNESS”, OR MIKHAIL BAKHTIN BETWEEN PAST AND FUTURE." Literaturovedcheskii Zhurnal, no. 4 (2021): 9–27. http://dx.doi.org/10.31249/litzhur/2021.54.01.

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Three things are investigated in the present article: first, the general situation in the so-called Bakhtin studies, East and West; secondly, a possible new approach to Bakhtin’ thinking in the context of the “non-Bakhtinian” ideological and scientific atmosphere after the end of the new times, or the Modernity; thirdly, some preliminary commentary is given to Bakhtin’s notion of authorship, or the “creating consciousness”. Consequently, the first part of the article is a discussion of the disparity between Bakhtin’s world-wide popularity and the general problematiicity of his “influence”. The second part is an attempt to investigate some possibility of “another beginning” in the humanities in general and in Bakhtin studies in particular. While a possibility of creative future, or the “new”, doesn’t seem to exist within the horizon of the present, it is not the present, then, but the creative past of the previous epochs is likely to hermeneutically produce possibilities to enrich our creative potential in the modus of “future-in-the-past”. The last part of the article demonstrates a possibility of “another beginning” elucidating Bakhtin’s concept of authorship as a “creating consciousness”. In the Bakhtinian thinking, a creating author, as well as an active person, is not so much existential or monological, but, rather, grotesque and dialogical. Authorship as the “creating consciousness”seems to overcome the ideal of autonomy typical for the Modernity by his alternative principle of the “autonomous participation or participating autonomy” in life, in art, and in science.

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Emerson, Caryl, and Ken Hirschkop. "Mikhail Bakhtin: An Aesthetic for Democracy." Slavic and East European Journal 45, no. 1 (2001): 135. http://dx.doi.org/10.2307/3086426.

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Rosenshield, Gary, Gary Saul Morson, and Caryl Emerson. "Mikhail Bakhtin: Creation of a Prosaics." Russian Review 52, no. 1 (January 1993): 102. http://dx.doi.org/10.2307/130869.

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PONZIO, AUGUSTO. "Philology and Philosophy in Mikhail Bakhtin." Philology 1, no. 1 (January 1, 2015): 121–50. http://dx.doi.org/10.3726/78000_121.

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Bernard-Donals, Michael. "Mikhail Bakhtin: Between Phenomenology and Marxism." College English 56, no. 2 (February 1994): 170. http://dx.doi.org/10.2307/378728.

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Martin, Wallace, Gary Saul Morson, and Caryl Emerson. "Mikhail Bakhtin: Creation of a Prosaics." Comparative Literature 44, no. 4 (1992): 441. http://dx.doi.org/10.2307/1771558.

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Tambling, Jeremy, Ken Hirschkop, Craig Brandist, and Galin Tihanov. "Mikhail Bakhtin: An Aesthetic for Democracy." Yearbook of English Studies 32 (2002): 331. http://dx.doi.org/10.2307/3509119.

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Bernard‐Donals, Michael. "Mikhail Bakhtin, classical rhetoric, and praxis." Rhetoric Society Quarterly 22, no. 4 (September 1992): 10–15. http://dx.doi.org/10.1080/02773949209390966.

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Murphy, John M. "Mikhail Bakhtin and the rhetorical tradition." Quarterly Journal of Speech 87, no. 3 (August 2001): 259–77. http://dx.doi.org/10.1080/00335630109384336.

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Nikulin, Dimitri. "Mikhail Bakhtin: A Theory of Dialogue." Constellations 5, no. 3 (September 1998): 381–402. http://dx.doi.org/10.1111/1467-8675.00102.

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Bernard-Donals, Michael. "Mikhail Bakhtin: Between Phenomenology and Marxism." College English 56, no. 2 (February 1, 1994): 170–88. http://dx.doi.org/10.58680/ce19949246.

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Kafle, Chiranjibi. "The Novel as Art: Perspectives From Bakhtin and Lawrence." Tribhuvan University Journal 27, no. 1-2 (December 30, 2010): 43–48. http://dx.doi.org/10.3126/tuj.v27i1-2.26369.

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Literary world continued to face a clash of opinion for long as to whether the popular genre, the novel, should be regarded as representing artistic literary heritage. As literary scholarship often traced a line separating poetic discourse from the novelistic discourse, readers as well as scholars were in a state of dilemma whether to recognize the novel as artistic genre. However, with authors like DH Lawrence and critics like Mikhail Bakhtin, the confusion no longer needs to hound us. This article is an attempt to see why and how the novelistic discourse is fit enough tobe considered artistic discourse and the novel an artistic genre of literature. As a methodology to look into the issue, scholarly perspectives forwarded by Mikhail Bakhtin and DH Lawrence have been taken into consideration. Bakhtin’s concept of ‘heteroglossia’ and Lawrence’s ‘wholeness of life’ have been adopted as the basic theoretical tool while the textual references are mainly based on their essays entitled “Discourse in the Novel” and “Why the Novel Matters,” respectively. The article concludes that Bakhtin's appreciation of novelistic discourse as something that enabled the "representation of heteroglossia…," and Lawrence's description of the novel as the “book of life” are both equally potent scholarly defenses establishing the novel as artistic genre.

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Trong Hoang Linh, Phan. "Principle of dialogue in Mikhail Bakhtin’s poetics." Science & Technology Development Journal - Social Sciences & Humanities 3, no. 2 (January 3, 2020): 109–19. http://dx.doi.org/10.32508/stdjssh.v3i2.518.

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Mikhail Bakhtin (1895 - 1975) had a great influence on the history of modern poetics in the world. From the 1980s onwards, the adoption of Bakhtin's poetics was of great significance, contributing to the development of poetics in Vietnam in nearly four decades. One of the essential foundations for his theory is the principle of dialogue. However, applying the principle of dialogue in a systematic relationship with Bakhtin's academic legacy, especially its relation to the principle of carnaval, has never become easy for a consensus. The duty of this essay is to analyze the principle of dialogue in a systematic view. Dialogue is first a linguistic principle proposed on the basis of counter-argument of the linguistic theory of F.D. Saussure. The carnaval principle is a cultural basis for applying the principle of dialogue into the study of literature. By connecting these two principles to a system, Bakhtin wanted to promote the study of literature to cultural poetics. Applying the principle of dialogue for study Dostoievski’s work, he discovered the kind of novel that had never appeared before: polyphonic novel. This type of novel contains a new structure in the relationship between the author and the character, and if not based on the principle of dialogue, it is difficult to understand its full value.

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Zhernokleyev, Denis. "BAKHTIN ON FLAUBERT: THE POETICS OF THE “ALL-NEGATING IMAGE”." Literaturovedcheskii Zhurnal, no. 4 (2021): 166–78. http://dx.doi.org/10.31249/litzhur/2021.54.10.

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The article analyzes a lesser-known text of Mikhail Bakhtin’s “On Flaubert”. While this inquiry pays particular attention to the significance of Bakhtin’s carnivalesque reading of Rabelais for his reading of Flaubert, it also treats the fragment in the broader context of Bakhtin’s philosophy. The article argues that Bakhtin’s approach to Flaubert is apophatic in nature. For Bakhtin, The Temptation of Saint Anthony is the most important text of Flaubert, and through its ascetic aesthetic, he interprets all other novels of Flaubert. The significance of animals in Flaubert emerges as an important theme for Bakhtin, who believes the image of the beast constitutes the unconscious center of Flaubert’s thought. The topic of the beast leads Bakhtin to the theme of pity, which for him is fundamentally different from the sentimentalized and thus inevitably self-centered compassion.

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Kovalevskaya, Tatyana V. "Charles Gounod’s Faust and Dostoevsky Artistic Principles." Dostoevsky and world culture. Philological journal, no. 2 (2021): 89–115. http://dx.doi.org/10.22455/2541-7894-2021-2-89-115.

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The article considers the “Faustian” scene in Fyodor Dostoevsky’s The Adolescent as the musical embodiment of Dostoevsky’s central poetic device: statements with maximum formal similarity and maximum semantic divergence. This device is contextualized within Mikhail Bakhtin’s polyphonic novel concept and within the context of the history of polyphony as a musical phenomenon starting with its origins in the Western European music. We follow Larisa Gogotishvili’s suggestion that Mikhail Bakhtin’s polyphony is not the polyphony of the 18th-19th century (Johann Sebastian Bach, for instance) but the 20th-century polyphony (Arnold Schoenberg) and propose that Bakhtin’s and Dostoevsky’s concepts of polyphony have different origins (relativist in Bakhtin and epistemological in Dostoevsky) and consequently serve different purposes: Bakhtin affirms a multiplicity of voices as a matter of principle, while Dostoevsky strives to ultimately overcome this multiplicity by covering as many concepts of reality as possible. The breadth of Dostoevsky’s conceptual range is intended to overcome humans’ epistemological limitations and avoid dangerous cognitive traps that lie in statements that are formally close, but semantically different.

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Kovalevskaya, Tatyana V. "Charles Gounod’s Faust and Dostoevsky Artistic Principles." Dostoevsky and world culture. Philological journal, no. 2 (2021): 89–115. http://dx.doi.org/10.22455/2619-0311-2021-2-89-115.

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The article considers the “Faustian” scene in Fyodor Dostoevsky’s The Adolescent as the musical embodiment of Dostoevsky’s central poetic device: statements with maximum formal similarity and maximum semantic divergence. This device is contextualized within Mikhail Bakhtin’s polyphonic novel concept and within the context of the history of polyphony as a musical phenomenon starting with its origins in the Western European music. We follow Larisa Gogotishvili’s suggestion that Mikhail Bakhtin’s polyphony is not the polyphony of the 18th-19th century (Johann Sebastian Bach, for instance) but the 20th-century polyphony (Arnold Schoenberg) and propose that Bakhtin’s and Dostoevsky’s concepts of polyphony have different origins (relativist in Bakhtin and epistemological in Dostoevsky) and consequently serve different purposes: Bakhtin affirms a multiplicity of voices as a matter of principle, while Dostoevsky strives to ultimately overcome this multiplicity by covering as many concepts of reality as possible. The breadth of Dostoevsky’s conceptual range is intended to overcome humans’ epistemological limitations and avoid dangerous cognitive traps that lie in statements that are formally close, but semantically different.

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Arena, Dagoberto Buim. "ALGUMAS REFERÊNCIAS FILOSÓFICO-RELIGIOSAS DE MIKHAIL BAKHTIN." Educação: Teoria e Prática 30, no. 63 (December 14, 2020): 1–17. http://dx.doi.org/10.18675/1981-8106.v30.n.63.s14380.

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Este artigo elege a pesquisa sobre pensamentos religiosos de Bakhtin como tema, uma vez que são pouco comentados no meio acadêmico, tendo sido eles, e não os de natureza política, os responsáveis pela sua prisão. Os objetivos orientam para a relevância da influência de companheiros e de organizações em sua formação religiosa-filosófica e para a contestação de uma declaração do próprio Bakhtin em entrevista a Botcharov de que teria se aproximado do espiritismo. A metodologia consistiu em analisar obras que cuidam de sua vida pessoal, entre as quais as que incluem duas entrevistas concedidas por ele a Botcharov e a Duvakin, as análises de Sériot, de Depretto, de Dennes, de Ollivier, e em confrontar trechos, declarações e informações. Os resultados revelam um Bakhtin formado, desde a juventude até a morte, em movimentos de pensamentos cristãos de um lado e, de outro, de distanciamento dos princípios que alimentam lutas marxistas revolucionárias ou mesmo de princípios contrarrevolucionários. Bakhtin revelou-se apegado à moral cristã, um defensor de preceitos vinculados ao espiritualismo, mas não ao espiritismo.

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Zhang, Yanping. "The art of cunning: Georg Lukács, Mikhail Bakhtin and Soviet Socialist realism." Journal of European Studies 51, no. 1 (March 2021): 24–46. http://dx.doi.org/10.1177/0047244120985623.

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This article examines Georg Lukács’ The Historical Novel (1937–8) and four works on the novel written by Mikhail Bakhtin between 1936 and 1941 in relation to the Great Terror and Soviet socialist realism. It argues that, to a large extent, Lukács’ and Bakhtin’s theories of the novel of the 1930s stemmed from a moral urgency felt and shared by the authors to salvage the novel – a category that has significant implications for history for both theorists – from the damages wrought by socialist realism. Focusing on the ways in which Bakhtin and Lukács encode their dissent into legitimate narratives, the article draws attention to the art of cunning – dissimulation, equivocation, doublespeak and coding – as a means of disrupting tyrannical discourse, registering difference and surviving. Both Lukács and Bakhtin held ambiguous views on socialist realism and both of them capitalized on the ambivalence inherent in official Soviet discourse.

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Di Camargo, Ivo, Fábio Marques de Souza, and Viviane Alves da Silva. "POSSIBLE PATHS FOR UNDERSTANDING HUMAN SCIENCES WITH MIKHAIL BAKHTIN." Open Minds International Journal 1, no. 1 (July 1, 2020): 1–7. http://dx.doi.org/10.47180/omij.v1i1.13.

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This article aims to offer an opportunity to think and question some of the possible paths to understanding Mikhail Bakhtin’s contributions to the human sciences. Therefore, we will contextualize the ideas from Bakhtin Circle, connecting the semantic production of each one of its Russian members (such as Bakhtin, Medvedev, Volochinov, Kanaiev, Pumpianski and Judina) which provided a collaborative production that has been changing the way Western society thinks about human sciences throughout the last decades. These researchers perceptibly changed the studies on language philosophy, literary theory studies, and also offered a new perspective on discourse genres and basic concepts for linguistic and social studies, such as polyphony, alterity, dialogical relations, etc. These concepts function in relation to one another. We can perceive one element that has combined within itself this dialogue in a way it can provide the interaction between different knowledge areas, thinkers, researches and authors.

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Осовский, О. Е., and В. П. Киржаева. "Mikhail Mikhaylovich Bakhtin: Reconstructing a Scholarly Biography ( Part 1)." Вестник Рязанского государственного университета имени С.А. Есенина, no. 4(69) (February 16, 2021): 90–102. http://dx.doi.org/10.37724/rsu.2020.69.4.011.

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В статье представлена реконструкция научной биографии выдающегося мыслителя ХХ века М. М. Бахтина, влияние которого на развитие гуманитарных наук в России и за ее пределами не просто сохраняется в XXI веке, но становится более заметным. Понимание того, как формируется и эволюционирует мысль М. М. Бахтина на протяжении 1910–1970-х годов, какие влияния она испытывает и в диалоге с какими школами и течениями получает завершение, — одна из важнейших целей бахтиноведения как междисциплинарного направления гуманитаристики последних десятилетий. Особое значение в этом контексте приобретают Собрание сочинений М. М. Бахтина, издание которого завершилось в 2012 году, исследования В. Л. Махлина, Н. И. Николаева, Н. А. Панькова, Н. Д. Тамарченко, Л. А. Гоготишвили, М. Холквиста, Г. С. Морсона, К. Эмерсон, Г. Тиханова, К. Брендиста, статьи и очерки С. Г. Бочарова, В. В. Кожинова, В. Н. Турбина и др. С опорой на междисциплинарный подход, приемы микроистории и идею «малого времени» авторами дано комплексное описание жизни и творчества М. М. Бахтина на основе новейших разысканий отечественного и зарубежного бахтиноведения, собственных исследований 1990–2010-х годов, предложена периодизация научной биографии ученого, охарактеризованы основные достижения, прослежена эволюция философско-эстетических взглядов и исследовательской методологии, обозначены научный и социокультурный контексты работ невельско-витебского периода, «Проблем творчества Достоевского», исследований о романе, рукописи о Рабле, поздних текстов и фрагментов. В первой части статьи предлагается реконструкция жизни и творчества ученого с раннего периода до публикации «Проблем творчества Достоевского» и вынесения приговора по делу «Воскресения». The article reconstructs a scholarly biography of M. M. Bakhtin, an outstanding philosopher of the 20th century, whose influence on the development of humanities in Russia and abroad can hardy be overestimated and remains strong even in the 21st century. One of the most important goals of Bakhtin studies as an interdisciplinary humanitarian research of recent decades is the investigation of M. M. Bakhtin’s philosophy and its evolution during the 1910s–1970s as well as the study of external factors, philosophical schools and trends that influenced Bakhtin’s philosophy. M. M. Bakhtin’s collected works (published in 2012), research works conducted by V. L. Makhlin, N. I. Nikolayev, N. A. Pankov, N. D. Tamarchenko, L. A. Gogotisjvili, M. Kholkvist, G. S. Morson, K. Emerson, G. Tikhanov, K. Brendist, articles and essays written by S. G. Bocharov, V. V. Kozhinov, B. N. Turbin, and other works gain special significance in the present context. The authors of the article describe M. M. Bakhtin’s life and work through the prism of an interdisciplinary approach, employ the methods of microhistory and the idea of little time, rely on the investigations of Russian and foreign scholars working in the field of Bakhtin studies and their own research conduced in the 1990s-2010s. The article focuses on some landmarks of the philosopher’s scholarly biography, characterizes his major achievements, investigates the evolution of his philosophical and aesthetical views and his research methodology, characterizes the scholarly and socio-cultural contexts of Bakhtin’s work in Newel and Vitebsk, analyzes Bakhtin’s “Problems of Dostoyevsky’s Poetics”, investigates his manuscript about Rabelais and his late works. The first part of the article attempts to reconstruct the philosopher’s life and work starting with the early period and finishing with the “Problems of Dostoyevsky’s Poetics” and the exile caused by the Voskresenie case.

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Осовский, О. Е., and В. П. Киржаева. "Mikhail Mikhaylovich Bakhtin: an Attempt to Reconstruct a Scholar’s Biography (Part 2)." Вестник Рязанского государственного университета имени С.А. Есенина, no. 1(70) (March 17, 2021): 90–102. http://dx.doi.org/10.37724/rsu.2021.70.1.010.

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В статье представлена реконструкция научной биографии выдающегося мыслителя ХХ века М. М. Бахтина, влияние которого на развитие гуманитарных наук в России и за ее пределами не просто сохраняется в XXI веке, но становится более заметным. Понимание того, как формируется и эволюционирует мысль М. М. Бахтина на протяжении 1910–1970-х годов, какие влияния она испытывает и в диалоге с какими школами и течениями получает завершение, — одна из важнейших целей бахтиноведения как междисциплинарного направления гуманитаристики последних десятилетий. Особое значение в этом контексте приобретают Собрание сочинений М. М. Бахтина, издание которого завершилось в 2012 году, исследования В. Л. Махлина, Н. И. Николаева, Н. А. Панькова, Н. Д. Тамарченко, Л. А. Гоготишвили, М. Холквиста, Г. С. Морсона, К. Эмерсон, Г. Тиханова, К. Брендиста, статьи и очерки С. Г. Бочарова, В. В. Кожинова, В. Н. Турбина и др. С опорой на междисциплинарный подход, приемы микроистории и идею «малого времени» авторами дано комплексное описание жизни и творчества М. М. Бахтина на основе новейших разысканий отечественного и зарубежного бахтиноведения, собственных исследований 1990–2010-х годов, предложена периодизация научной биографии ученого, охарактеризованы основные достижения, прослежена эволюция философско-эстетических взглядов и исследовательской методологии, обозначены научный и социокультурный контексты работ невельско-витебского периода, «Проблем творчества Достоевского», исследований о романе, рукописи о Рабле, поздних текстов и фрагментов. Во второй части статьи предлагается реконструкция жизни и творчества ученого с периода кустанайской ссылки по 1975 год, обозначен поворот от социологической к исторической поэтике в работах 1930-х годов, в частности в рукописи о Рабле показан новаторский характер научных поисков 1940–1950-х годов, значение идей ученого для обновления советской и мировой гуманитаристики в 1960–1970-х годах. The article reconstructs a scholarly biography of M. M. Bakhtin, an outstanding philosopher of the 20thcentury, whose influence on the development of humanities in Russia and abroad can hardy be overestimated and remains strong even in the 21stcentury. One of the most important goals of Bakhtin studies as an interdisciplinary humanitarian research of recent decades is the investigation of M. M. Bakhtin’s philosophy and its evolution during the 1910s–1970s as well as the study of external factors, philosophical schools and trends that influenced Bakhtin’s philosophy. M. M. Bakhtin’s collected works (published in 2012), research works conducted by V. L. Makhlin, N. I. Nikolayev, N. A. Pankov, N. D. Tamarchenko, L. A. Gogotisjvili, M. Kholkvist, G. S. Morson, K. Emerson, G. Tikhanov,K. Brendist, articles and essays written by S. G. Bocharov, V. V. Kozhinov, B. N. Turbin, and other works gain special significance in the present context. The authors of the article describe M. M. Bakhtin’s life and work through the prism of an interdisciplinary approach, employ the methods of microhistory and the idea of little time, rely on the investigations of Russian and foreign scholars working in the field of Bakhtin studies and their own research conduced in the 1990s-2010s. The article focuses on some landmarks of the philosopher’s scholarly biography, characterizes his major achievements, investigates the evolution of his philosophical and aesthetical views and his research methodology, characterizes the scholarly and socio-cultural contexts of Bakhtin’s work in Newel and Vitebsk, analyzes Bakhtin’s “Problems of Dostoyevsky’s Poetics”, investigates his manuscript about Rabelais and his late works. The second part of the article attempts to restructure the philosopher’s life and work from the beginning of his exile in Kustanay till 1975. The article shows that Bakhtin’s works of the 1930s bear witness to the fact that Bakhtins’ sociological poetics gradually transforms into historical poetics. The article deals with Bakhtin’s investigation of Rabelais’ works in the 1940s–1950s. It underlines the importance of Bakhtin’s ideas for the development of both Soviet and foreign humanitarian studies in the 1960s–1970s.

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Thomson, Clive. "Mikhail Bakhtin: seu tempo e o nosso." Bakhtiniana: Revista de Estudos do Discurso 11, no. 1 (April 2016): 4–17. http://dx.doi.org/10.1590/2176-457325560.

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Berlin, Adele, and Barbara Green. "Mikhail Bakhtin and Biblical Scholarship: An Introduction." Journal of the American Oriental Society 122, no. 1 (January 2002): 130. http://dx.doi.org/10.2307/3087683.

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박상만. "Mikhail Bakhtin and English-American Literary Criticism." Studies in English Language & Literature 33, no. 3 (August 2007): 35–54. http://dx.doi.org/10.21559/aellk.2007.33.3.003.

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Teixeira, Marilia Dalva. "Considerações sobre o corpo em Mikhail Bakhtin." Voluntas: Revista Internacional de Filosofia 10, no. 1 (April 30, 2019): 46. http://dx.doi.org/10.5902/2179378636662.

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Este trabalho tem por objetivo expor como o corpo é apresentado na obra do filósofo russo Mikhail Bakhtin, em especial nos textos O autor e a personagem na atividade estética e Cultura popular na Idade Média e no Renascimento: O contexto de François Rabelais. Nesses textos, Bakhtin apresenta o corpo como objeto ideologicamente saturado, quando submetido a movimentos axiológicos da relação entre sujeitos. Esse corpo, possuidor de valor axiológico, depende do outro para se estabelecer esteticamente e pode, na atividade estética, tornar-se manifestação de duas consciências não coincidentes, bem como se apresentar como uma visão de mundo historicamente situada.

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Emerson, Caryl. "Isaiah Berlin and Mikhail Bakhtin: Relativistic Affiliations." symploke 7, no. 1 (1999): 139–64. http://dx.doi.org/10.1353/sym.1999.0009.

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Zebroski, James Thomas. "Mikhail Bakhtin and the question of rhetoric." Rhetoric Society Quarterly 22, no. 4 (September 1992): 22–28. http://dx.doi.org/10.1080/02773949209390968.

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Journal articles on the topic 'Mikhail Bakhtin'

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