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How can cradling, handling, or rubbing a text be said, ethically, to have made something happen? What, as readers or interpreters, may come off in our hands in as we maculate or mark the books we read? For Adam Zachary Newton, reading is anembodied practice wherein “ethics” becomes a matter of tact—in the doubled sense of touch and regard. With the image of the book lying in the hands of its readers as insistent refrain, To Make the Hands Impure cuts a provocative cross-disciplinary swath through classical Jewish texts, modern Jewish philosophy, film and performance, literature, translation, and the material text. Newton explores the ethics of reading through a range of texts, from the Talmud and Midrash to Conrad’s Nostromo and Pascal’s Le Mémorial, from works by Henry Darger and Martin Scorsese to the National September 11 Memorial and a synagogue in Havana, Cuba. In separate chapters, he conducts masterly treatments of Emmanuel Levinas, Mikhail Bakhtin, and Stanley Cavell by emphasizing their performances as readers—a trebled orientation to Talmud, novel, and theater/film. To Make the Hands Impure stages the encounter of literary experience and scriptural traditions—the difficult and the holy—through an ambitious, singular, and innovative approach marked in equal measure by erudition and imaginative daring.
Educators, teacher practitioners, and social activists have successfully used critical pedagogy as a tool to help marginalized students develop awareness and seek alternative solutions to their poor educational and socioeconomic situations. However, this theory is often criticized as being mostly dominated by privileged white males, bringing issues of race and gender to the forefront. This volume provides insight on how critical pedagogy can be helpful to scholars and teachers alike in their analysis of racial, gender, linguistic and political problems. It features a wide range of respected scholars who examine the way and the degree to which critical pedagogy can be used to improve education for students of color, women and other marginalized groups.
Art and Answerability, the work that would become Mikhail Bakhtin’s literary manifesto, was first published in Den Iskusstva (The Day of the Art) on September 13, 1919. Mikhail Bakhtin’s Heritage in Literature, Arts, and Psychology: Art and Answerability celebrates one hundred years of Bakhtin’s heritage. This unique book examines the heritage of Mikhail Bakhtinin a variety of disciplines.To articulate the enduring relevance and heritage of the varied works of Bakhtin, sixteen scholars from eight countries have come together, and each has brought his/her unique perspective to the subject. Bakhtin’s work in aesthetics, moral philosophy, linguistics, psychology, carnival, cognition, contextualism, and the history and theory of the novel are present here, as understood by a wide variety of distinguished scholars.
This volume brings together nine essays by established and new scholars from Russia, Britain and North America to explore the historical contexts and current relevance of the work of the Bakhtin Circle for social theory, philosophy, history and linguistics.
In this multi-disciplinary volume, comprising the work of several established scholars from different countries, central concepts associated with the work of the Bakhtin Circle are interrogated in relation to intellectual history, language theory and an understanding of new media. The book will prove an important resource for those interested in the ideas of the Bakhtin Circle, but also for those attempting to develop a coherent theoretical approach to language in use and problems of meaning production in new media.
Recent years have witnessed a burgeoning interest in the study of everyday life within the social sciences and humanities. In Critiques of Everyday Life Michael Gardiner proposes that there exists a counter-tradition within everyday life theorising. This counter-tradition has sought not merely to describe lived experience, but to transform it by elevating our understanding of the everyday to the status of a critical knowledge. In his analysis Gardiner engages with the work of a number of significant theorists and approaches that have been marginalized by mainstream academe, including: *The French tradition of everyday life theorising, from the surrealists to Henri Lefebvre, and from the Situationist International to Michel de Certeau *Agnes Heller and the relationship between the everyday, rationality and ethics *Carnival, prosaics and intersubjectivity in the work of Mikhail Bakhtin *Dorothy E. Smith's feminist perspective on everyday life. Critiques of Everyday Life demonstrates the importance of an alternative, multidisciplinary everyday life paradigm and offers a myriad of new possibilities for critical social and cultural theorising and empirical research.
Per Linell took his degree in linguistics and is currently professor of language and culture, with a specialisation on communication and spoken interaction, at the University of Linköping, Sweden. He has been instrumental in building up an internationally renowned interdisciplinary graduate school in communication studies in Linköping. He has worked for many years on developing a dialogical alternative to mainstream theories in linguistics, psychology and social sciences. His production comprises more than 100 articles on dialogue, talk-in-interaction and institutional discourse. His more recent books include Approaching Dialogue (1998), The Written Language Bias in Linguistics (2005) and Dialogue in Focus Groups (2007, with I. Marková, M. Grossen and A. Salazar Orvig).
Written in the aftermath of the Covid crisis, this book brings the past, present and future of theatre-going together as it explores the nature of the relationships between performance practitioners, arts organisations and their audiences. Proposing that the pandemic forced a re-evaluation of what it means to be an audience, and combining historical and current cultural sector perspectives, the book reflects on how historical conventions have conditioned present day expectations of theatre-going in the UK. Helen Freshwater examines the ways in which developments in technology, architecture and forms of communication have influenced what is expected by and of audiences, reflecting changes in theatre's cultural status and place in our lives. Drawing on the first-hand experiences of festival director and performance practitioner Kate Craddock, it also contends that practitioners now need to turn their attention to care, access and sustainability, arguing that the pandemic taught us, above all, that it is possible to do things differently. Part vision, part provocation, part critical interrogation, Theatre and its Audiences offers an insightful appraisal of past norms and assumptions to set out a bold argument about where we should go from here.
What role might the Devil have in health and illness? The Devil is Disorder explores constructions of the body, health, illness and wider misfortune in a Trinidadian village where evangelical Christianity is growing in popularity. Based on long-term ethnography and locating the village in historical and global context, the book takes a nuanced cosmological approach to situate evangelical Christian understandings as shaping and being shaped by their context and, in the process, shaping individuals themselves. As people move from local to global subjects, health here stretches beyond being a matter of individual bodies and is connected to worldwide flows and networks, spirit entities, and expansive moral orders.
Composed in 1935-36 and intended to be his artistic 'credo', Shostakovich's Fourth Symphony was not performed publicly until 1961. Here, Dr Pauline Fairclough tackles head-on one of the most significant and least understood of Shostakovich's major works. She argues that the Fourth Symphony was radically different from its Soviet contemporaries in terms of its structure, dramaturgy, tone and even language, and therefore challenged the norms of Soviet symphonism at a crucial stage of its development. With the backing of prominent musicologists such as Ivan Sollertinsky, the composer could realistically have expected the premiere to have taken place, and may even have intended the symphony to be a model for a new kind of 'democratic' Soviet symphonism. Fairclough meticulously examines the score to inform a discussion of tonal and thematic processes, allusion, paraphrase and reference to musical types, or intonations. Such analysis is set deeply in the context of Soviet musical culture during the period 1932-36, involving Shostakovich's contemporaries Shebalin, Myaskovsky, Kabalevsky and Popov. A new method of analysis is also advanced here, where a range of Soviet and Western analytical methods are informed by the theoretical work of Shostakovich's contemporaries Viktor Shklovsky, Boris Tomashevsky, Mikhail Bakhtin and Ivan Sollertinsky, together with Theodor Adorno's late study of Mahler. In this way, the book will significantly increase an understanding of the symphony and its context.