M. M. Bakhtin in Russian Culture of the Twentieth Century (Translated by Ann Shukman)

Gasparov, M. L.

doi:10.4148/2334-4415.1158

Cited by 3 publications

(3 citation statements)

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“…The ideological premise of the Marxist class struggle provides, in fact, one more reason for the anti-poetical stance: in a convincing intrepretation of Mikhail Gasparov, Bakhtin -a 'man of a new culture' -attacks poetry as a traditional 'high' genre in the literary hierarchy. 8 Subtracted from the personalized dialogical exchange (for instance, between the speaker or author, and the listener or reader), the word also runs the danger of reification (e.g. poetical word) (DN, p. 346).…”

Section: )mentioning

confidence: 99%

Bakhtin: The Dangers of Dialogue

Cruz

2012

Macab. Rev. Eletr. Netlli

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This article focuses on the relation to the Other -the underlying aspect of dialogism -in the works of Mikhail Bakhtin. His approach to heterology (science or knowledge of the Other) is fundamental to analysis of such themes of his oeuvre as carnival (laughter), history, and economy of human existence. On a certain stage it appears, that two configurations may be distinguished in Bakhtin's conception of the Other. First, the Other dominated and appropriated by the subject, or Author, or Self in the dialogic relation -it is only a provisional Other. The second is the irreducible Other, outside the possibility of adequate knowledge and thus potentially excluded from dialogue. Thus, the end of dialogue, the silence remains as a dark shadow on the horizon of the meaningful discursive logic. Moreover, the concepts of meaning and truth itself seem to be jeopardized here, since "answers to questions is what I call 'meanings'" (Bakhtin). Nevertheless, Bakhtin never openly questions the fundamental values of knowledge and final truth; his position may be summed up thus: "The truth is out there. Only it is probably not cognizable to an individual. Or may be not to anybody".

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Section: )mentioning

confidence: 99%

Bakhtin: The Dangers of Dialogue

Cruz

2012

Macab. Rev. Eletr. Netlli

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“…Как было отмечено В. Е. Хализевым, для русской литературы мотив возвращения домой является константой [10]. Этот мотив неразрывно связан с проблемой нравственных исканий человека [10] Теоретическую базу научного исследования составляют труды отечественных ученых, таких как А. Н. Веселовский [15], Н. Д. Тамарченко [16], В. И. Тюпа [17], Б. М. Гаспаров [18], М. Л. Гаспаров [19].…”

Section: Introductionunclassified

The motif of returning home in the lyric poetry of Nikolay Rubtsov and Leonid Zavalnyuk

Gavrilenko

2024

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The article is devoted to the study of the motif of returning to one’s homeland in the poetry of Nikolay Rubtsov and Leonid Zavalnyuk. The biographical research method makes it possible to identify the reasons that make the motif of returning to one’s homeland one of the key motifs in the poetry of Rubtsov and Zavalnyuk. The childhood of the poets, the early lost of mothers, the war years, both being orphans with living fathers, and being forced to leave their homes for many years. A comparative typological analysis allows us to identify the commonality in the revelation of this motif: the return to the homeland as a return to the idyllic world of lost childhood. Moreover, in the poems of both poets the image of their small homeland is presented in two time dimensions: past and present. Using the technique of contrast, the authors show the radical changes in the native space, the inability to accept the changes that have occurred. A comparison of the motif of returning to home reveals not only the similarities, but also the differences in the worldview of the two poets. Turning to the image of a small homeland, Rubtsov continues Yesenin’s traditions, his attention is directed to the Russian village, rural nature, the motif of the death of the traditional way of life. For Zavalnyuk, the motif of returning to his homeland takes on a new meaning: returning to his true self, restoring his own integrity, accepting himself. The analysis of poetic texts is based on the works of A. N. Veselovsky, B. M. Gasparov, M. L. Gasparov, N. D. Tamarchenko, V. I. Tyupa. The results of the study can be applied when studying the history of Russian literature and literary local history at universities and schools.

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“…Back in 1979, Gasparov published a short essay on Bakhtin, which was as laconic and explosive as the future one by Groys. Five years later it was translated and published in English (Gasparov, 1984). I came across the two debunking essays more or less simultaneously and have been recommending them to my graduate students ever since.…”

Section: Db:17mentioning

confidence: 99%