The Bakhtin Circle: Philosophy, Culture and Politics

Mikhail Bakhtin and the group of thinkers known as the Bakhtin Circle have had a massive influence on contemporary literary and cultural theory. This is the first book to bring together this significant new research on the Circle, setting it within a historical and intellectual context and emphasising the importance of the work of the Circle as a whole. Craig Brandist offers a new look at the significance of Bakhtin's legacy, and brings into clearer focus the contribution of others in the circle...

Mikhail Bakhtin is one of the most influential theorists of philosophy as well as literary studies. His work on dialogue and discourse has changed the way in which we read texts both literary and cultural and his practice of philosophy in literary refraction and philological exploration has made him a pioneering figure in the twentieth-century convergence of the two disciplines.
In this book, Graham Pechey offers a commentary on Bakhtin's texts in all their complex and allusive textuality, keeping a sense throughout of the historical setting in which they were written and of his own interpretation of and response to them.

The work of the Russian theorist Mikhail Bakhtin, particularly his notions of dialogics and genre, has had a substantial impact on contemporary critical practices. Until now, however, little attention has been paid to the possibilities and challenges Bakhtin presents to feminist theory, the task taken up in A Dialogue of Voices. The original essays in this book combine feminism and Bakhtin in unique ways and, by interpreting texts through these two lenses, arrive at new theoretical approaches. Together, these essays point to a new direction for feminist theory that originates in Bakhtin—one that would lead to a feminine etre rather than a feminine йcriture.

Focusing on feminist theorists such as Hйlene Cixous, Teresa de Lauretis, Julia Kristeva, and Monique Wittig in conjunction with Bakhtin's concepts of dialogism, heteroglossia, and chronotope, the authors offer close readings of texts from a wide range of multicultural genres, including nature writing, sermon composition, nineteenth-century British women's fiction, the contemporary romance novel, Irish and French lyric poetry, and Latin American film. The result is a unique dialogue in which authors of both sexes, from several countries and different eras, speak against, for, and with one another in ways that reveal their works anew as well as the critical matrices surrounding them.

 

This first comparative study of philosophers and literary theorists Mikhail Bakhtin and Walter Benjamin examines the relationship between the experience of the modern world and the forms that we use to make sense of that experience. Analyzing their views on art, habit, tradition, and language, this comparative study results in a radical reconsideration of received views about thinkers as well as in a reconsideration of the modernity that Bakhtin and Benjamin lived in and that we continue to inhabit now.

The aim of Language for those who have Nothing is to think psychiatry through the writings of Mikhail Bakhtin. Using the concepts of Dialogism and Polyphony, the Carnival and the Chronotope, a novel means of navigating the clinical landscape is developed.
Bakhtin offers language as a social phenomenon and one that is fully embodied. Utterances are shown to be alive and enfleshed and their meanings realised in the context of given social dimensions. The organisation of this book corresponds with carnival practices of taking the high down to the low before replenishing its meaning anew. Thus early discussions of official language and the chronotope become exposed to descending levels of analysis and emphasis.
Patients and practitioners are shown to occupy an entirely different spatio-temporal topography. These chronotopes have powerful borders and it is necessary to use the Carnival powers of cunning and deception in order to enter and to leave them. The book provides an overview of practitioners who have attempted such transgression and the author records his own unnerving experience as a pseudopatient. By exploring the context of psychiatry's unofficial voices: its terminology, jokes, parodies, and everyday narratives, the clinical landscape is shown to rely heavily on unofficial dialogues in order to safeguard an official identity.