Introducing BakhtinManchester University Press, 1997 - 240 pages The Russian critic and theorist Mikhail Bakhtin is once again in favor, his influence spreading across many discourses including literature, film, cultural and gender studies. This book provides the most comprehensive introduction to Bakhtin's central concepts and terms. Sue Vice illustrates what is meant by such ideas as carnival, the grotesque body, dialogism and heteroglossia. These concepts are then placed in a contemporary context by drawing out the implications of Bakhtin's writings, for current issues such as feminism and sexuality. Vice's examples are always practically based on specific texts such as the film Thelma and Louise, Helen Zahavi's Dirty Weekend and James Kelman's How late it was, how late. |
Table des matières
INTRODUCTION | 1 |
The Dialogic Imagination | 9 |
I hear voices everywhere | 18 |
Droits d'auteur | |
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Adlam ambivalence artistic Bakhtin and Cultural Bakhtin describes Bakhtin discusses Bakhtin points Bakhtin says Bakhtinian bodily body Bodymatters Call It Sleep carnival carnivalesque character characterized chrono chronotope concept consciousness construction Consul context critics Cultural Theory David Shepherd dialect dialogic Dirty Weekend Dostoevsky's double-voiced drama Emerson English epic essay example fiction film Gary Saul Morson gender genre grotesque body grotesque realism hero heteroglossia heteroglot Hiroshima Hirschkop and Shepherd Ibid indirect discourse instance interaction Josie Josie's Kelman's Ken Hirschkop kind Kristeva language Life-size linguistic literary London Lorna Sage Lowry Lowry's Marxism meaning Menippean satire Mikhail Bakhtin monologic Morson narrative narrator narratorial novelistic object parody particular person plot Poetics polyphony Rabelais reader relation representation represented road Ryklin Shute social space speak suggests textual Thelma and Louise tion University Press utterance voices Volcano Volosinov women word Yiddish Yvonne