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Polyphony (literature)

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directly among the equally signifying voice-ideas that are at variance with it, and provokes their confrontation with it and with the other voice-ideas. As his own voice has no more or less existential significance than any other voice, the author himself does not know in advance what the outcome of these confrontations will be. The interactions thus provoked are ripe with "event potential": conclusions are not foreordained, nothing truly comes to an end, and no character can be ultimately finalized from without. Thus the author's role in the polyphonic novel is twofold: "he creates a world where many disparate points of view enter into dialogue, and, in a quite distinct role, he himself participates in that dialogue. He is one of the interlocutors in the "great dialogue" that he himself has created."
140:. An affirmed idea, one that conforms to the unified worldview expressed through the work, "finds objective expression in a special accent of its own, in its special position within the work as a whole, in the very verbal and stylistic form of its utterance and in a whole series of other infinitely varied means for advancing a thought as a signifying, affirmed thought." If the idea falls outside of the author's worldview, it might be polemically repudiated, or it might be reduced to a negative 'attribute' of character, an expression of a finalized psychological or moral 'quality'. Its status is that of "socially typical or individually characteristic manifestations of thought." It is 86:
to its accuracy or inaccuracy relative to its object. As such it doesn't matter who utters it: it is an abstraction that has the same relationship to truth regardless of who utters it. In philosophy and science, such 'separate thoughts' are generally formed with a view toward monologic systematisation of truth, which will be similarly "'no-man's'". Even if such a system is produced collectively, it is expressed and comprehended in the form of a single consciousness, potentially utterable by anyone, but always the same. The advocate of such a system "has only one principle of cognitive individualization:
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everything about it that makes it unique, unfinalizable and full of unrealized potential. In his conception, unknown and unforeseen possibilities arise out of the interaction of autonomous, unfinalized consciousnesses, and this is the true, lived nature of human existence. The "open-ended dialogue" is the verbal manifestation of this truth, and polyphony is its artistic representation in literary form.
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no disembodied ("'no-man's'") thought or idea. Bakhtin uses the term 'voice-idea' to designate this unity of idea and personality. In Dostoevsky's creative process the compositional structure of the novel forms spontaneously around the interactions of this multiplicity of voice-ideas. From this, no abstract, monological
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has no substantive existence separate from the personality of a character: there is an "artistic fusion" of personality and idea that produces an irreducible spiritual orientation unique to that character, enabling them to "signify directly". The idea thus "lives" in the world: in Dostoevsky there is
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by the author and always lacks the power to "signify directly" in and as itself. An idea's power to signify directly is impossible in a monologic world, where there is only affirmation or repudiation. Bakhtin argues that this is not merely a fact of an artistically created world, but is true of "the
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be contained within a single consciousness; rather it comes into existence at the point of contact between diverse consciousnesses, and is intrinsically "full of event potential." Bakhtin's criticism of the monologic conception of truth is that it abstracts and effaces the "eventness" of the event –
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The monological novel is dominated by the author's ideology, which provides the unifying force for the work. The author retains "ultimate semantic authority" at all times. Truths apparently extrinsic to the author, belonging to a character for example, are "represented" truths: they are represented
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In the polyphonic novel, the voices are "unmerged": they "cannot be contained within a single consciousness, as in monologism. Rather, their separateness is essential to the dialogue: even when they agree, they do so from different perspectives and different senses of the world." Dostoevsky thought
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In the monologic conception of truth, the "truth" or "falsehood" of a thought/assertion/proposition exists independently of the person who utters it. The monologic truth is a disembodied truth, or what Bakhtin calls "'no-man's' thoughts". The truth of a proposition is determined solely by reference
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consciousness, with equal rights to signify, and not merely a 'created' character in the author's imposed reality. The author of the polyphonic novel confronts his characters as equals. He does not withdraw his own ideological position for the sake of an illusory objectivity: rather he places it
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sense of truth in combination with the special authorial position that makes possible the realization of that sense on the page. The dialogic sense of truth, as it manifests in Dostoevsky, is a radically different way of understanding the world to that of the
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relinquish monologic control over the work. If they do not, there is no possibility of realizing a dialogic sense of the world, where autonomous and unfinalized personalities interact on their own terms. It is only possible if the character is truly an
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not in thoughts as propositions with a quantifiable truth-value, but "in points of view, consciousnesses, voices." The carrier of truth "is not the assertion, but rather the integral point of view, the integral position of the personality." The
77:. Dostoevsky's novels, according to Bakhtin, cannot be understood from within the monological tradition of western thought, a way of thinking about "truth" that has dominated religion, science, philosophy and literature for many centuries. 25: 108: 132:
from within the author's ideological framework, invoked for their expediency relative to the author's overall purpose and plan. Ideas are either
90:. True judgments are not attached to a personality but correspond to some unified, systematically monologic context. Only error individualizes." 433: 93:
In contrast to this model of truth, Bakhtin postulates a truth that requires a multiplicity of consciousnesses, something that
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describes it as "a decentered authorial stance that grants validity to all voices". The concept was introduced by
204:. Ed. Michael Holquist. Trans. Caryl Emerson and Michael Holquist. Austin and London: University of Texas Press. 426: 57:
a plurality of independent and unmerged voices and consciousnesses, a genuine polyphony of fully valid voices
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not only objects of authorial discourse but also subjects of their own directly signifying discourse
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can emerge, only "a concrete event made up of organized human orientations and voices."
502: 407:ДИАЛОГИЗМ ИЛИ ПОЛИФОНИЯ? Одно из противоречий подхода Бахтина к творчеству Достоевского 172: 68: 264: 52: 55:'s prose. According to Bakhtin, the chief characteristic of Dostoevsky's novels is " 517: 207: 29: 442: 41: 507: 456: 537: 512: 487: 211: 37: 16:
Simultaneity of points of view and voices within a particular narrative plane
197:. Ed. and trans. Caryl Emerson. Minneapolis: University of Minnesota Press. 59:". His major characters are, "by the very nature of his creative design, 492: 45: 411: 401:Квантовая феноменология и полифония словесного творчества 263: 535: 66:Polyphony in literature is the consequence of a 427: 284: 242:Filosofia: An Encyclopedia of Russian Thought 145:entire ideological culture of recent times". 44:, using a metaphor based on the musical term 344: 342: 340: 312: 310: 300: 298: 296: 51:Bakhtin's primary example of polyphony was 434: 420: 285:Morson, Gary Saul; Emerson, Caryl (1990). 270:. University of Minnesota Press. pp.  289:. Stanford University Press. p. 234. 121: 80: 337: 307: 293: 148: 287:Mikhail Bakhtin: Creation of a Prosaics 261: 235: 216:Mikhail Bakhtin: Creation of a Prosaics 126: 536: 415: 202:The Dialogic Imagination: Four Essays 441: 13: 153:In polyphonic writing, the author 14: 560: 382: 375:Morson and Emerson (1990). p. 239 357:Morson and Emerson (1990). p. 238 334:Morson and Emerson (1990). p. 237 325:Morson and Emerson (1990). p. 236 467:Problems of Dostoevsky's Poetics 266:Problems of Dostoevsky's Poetics 194:Problems of Dostoevsky's Poetics 369: 360: 185: 351: 328: 319: 278: 255: 229: 1: 236:Emerson, Caryl (March 2019). 222: 101: 218:. Stanford University Press. 7: 498:Culture of popular laughter 166: 10: 565: 387: 480: 449: 262:Bakhtin, Mikhail (1984). 33: 462:The Dialogic Imagination 179:The Dialogic Imagination 481:Concepts and Philosophy 191:Bakhtin, M. M. (1984), 523:Polyphony (literature) 472:Rabelais and His World 200:Bakhtin, M. M. (1981) 122:Position of the author 81:Monologic and dialogic 366:Bakhtin (1984). p. 82 348:Bakhtin (1984). p. 93 316:Bakhtin (1984). p. 81 304:Bakhtin (1984). p. 80 149:Polyphonic authorship 395:Полифонический роман 127:Monologic authorship 503:Dialogue (Bakhtin) 173:Dialogue (Bakhtin) 549:Literary concepts 531: 530: 238:"Mikhail Bakhtin" 53:Fyodor Dostoevsky 556: 518:Menippean satire 436: 429: 422: 413: 412: 376: 373: 367: 364: 358: 355: 349: 346: 335: 332: 326: 323: 317: 314: 305: 302: 291: 290: 282: 276: 275: 269: 259: 253: 252: 250: 248: 233: 208:Gary Saul Morson 35: 28: 564: 563: 559: 558: 557: 555: 554: 553: 534: 533: 532: 527: 476: 445: 443:Mikhail Bakhtin 440: 390: 385: 380: 379: 374: 370: 365: 361: 356: 352: 347: 338: 333: 329: 324: 320: 315: 308: 303: 294: 283: 279: 260: 256: 246: 244: 234: 230: 225: 188: 169: 151: 129: 124: 104: 83: 42:Mikhail Bakhtin 24: 19:In literature, 17: 12: 11: 5: 562: 552: 551: 546: 529: 528: 526: 525: 520: 515: 510: 508:Grotesque body 505: 500: 495: 490: 484: 482: 478: 477: 475: 474: 469: 464: 459: 457:Epic and Novel 453: 451: 447: 446: 439: 438: 431: 424: 416: 410: 409: 403: 397: 389: 386: 384: 383:External links 381: 378: 377: 368: 359: 350: 336: 327: 318: 306: 292: 277: 254: 227: 226: 224: 221: 220: 219: 205: 198: 187: 184: 183: 182: 175: 168: 165: 150: 147: 128: 125: 123: 120: 103: 100: 82: 79: 15: 9: 6: 4: 3: 2: 561: 550: 547: 545: 542: 541: 539: 524: 521: 519: 516: 514: 513:Heteroglossia 511: 509: 506: 504: 501: 499: 496: 494: 491: 489: 488:Carnivalesque 486: 485: 483: 479: 473: 470: 468: 465: 463: 460: 458: 455: 454: 452: 448: 444: 437: 432: 430: 425: 423: 418: 417: 414: 408: 405:И. Евлампиев 404: 402: 398: 396: 392: 391: 372: 363: 354: 345: 343: 341: 331: 322: 313: 311: 301: 299: 297: 288: 281: 273: 268: 267: 258: 243: 239: 232: 228: 217: 213: 212:Caryl Emerson 209: 206: 203: 199: 196: 195: 190: 189: 181: 180: 176: 174: 171: 170: 164: 161: 156: 146: 143: 139: 135: 119: 117: 112: 111: 99: 96: 91: 89: 78: 76: 71: 70: 64: 62: 58: 54: 49: 47: 43: 39: 38:Caryl Emerson 31: 27: 22: 522: 371: 362: 353: 330: 321: 286: 280: 265: 257: 245:. Retrieved 241: 231: 215: 201: 192: 186:Bibliography 177: 159: 154: 152: 141: 137: 133: 130: 115: 109: 105: 94: 92: 87: 84: 74: 67: 65: 60: 56: 50: 20: 18: 544:Narratology 399:М. Долидзе 142:objectified 538:Categories 493:Chronotope 393:В. Руднев 223:References 138:repudiated 102:Voice-idea 75:monologic 46:polyphony 34:полифония 26:‹See Tfd› 21:polyphony 247:30 April 214:(1990). 167:See also 134:affirmed 69:dialogic 388:Russian 30:Russian 116:system 95:cannot 450:Works 160:other 88:error 249:2020 210:and 155:must 110:idea 272:6–7 136:or 63:". 540:: 339:^ 309:^ 295:^ 240:. 48:. 32:: 435:e 428:t 421:v 274:. 251:. 23:(

Index

‹See Tfd›
Russian
Caryl Emerson
Mikhail Bakhtin
polyphony
Fyodor Dostoevsky
dialogic
idea
Dialogue (Bakhtin)
The Dialogic Imagination
Problems of Dostoevsky's Poetics
Gary Saul Morson
Caryl Emerson
"Mikhail Bakhtin"
Problems of Dostoevsky's Poetics
6–7








Полифонический роман
Квантовая феноменология и полифония словесного творчества
ДИАЛОГИЗМ ИЛИ ПОЛИФОНИЯ? Одно из противоречий подхода Бахтина к творчеству Достоевского
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