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The essays in Rethinking Bakhtin: Extensions and Challenges extend Bakhtin's concepts in important new directions and challenge Bakhtin's own use of his most cherished ideas. Four sets of paired essays explore the theory of parody, the relation of de Man's poetics to Bakhtin's dialogics, Bakhtin's approach to Tolstoy and ideological literature generally, and the dangers of dialogue, not only in practice but also as an ideal.
This book is not only a major twentieth-century contribution to Dostoevsky’s studies, but also one of the most important theories of the novel produced in our century. As a modern reinterpretation of poetics, it bears comparison with Aristotle.
In Dostoevsky’s Dialectics and the Problem of Sin, Ksana Blank borrows from ancient Greek, Chinese, and Christian dialectical traditions to formulate a dynamic image of Dostoevsky’s dialectics—distinct from Hegelian dialectics—as a philosophy of “compatible contradictions.” Expanding on the classical triad of Goodness, Beauty, and Truth, Blank guides us through Dostoevsky’s most difficult paradoxes: goodness that begets evil, beautiful personalities that bring about grief, and criminality that brings about salvation. Dostoevsky’s philosophy of contradictions, this book demonstrates, contributes to the development of antinomian thought in the writings of early twentieth-century Russian religious thinkers and to the development of Bakhtin’s dialogism. Dostoevsky’s Dialectics and the Problem of Sin marks an important and original intervention into the enduring debate over Dostoevsky’s spiritual philosophy.
First broadcast in the not too distant past on a television station in Minnesota, Mystery Science Theater 3000 soon grew out of its humble beginnings and found a new home on cable television. This simple show about a man and two robots forced to watch bad movies became a cult classic, and episodes of the series continue to be packaged in DVD collections to this day. Before its final run, the show received Emmy nominations and a Peabody award for Television excellence, and in 2007, Time magazine declared MST3K one of “The 100 Best Shows of All-Time.” In Reading Mystery Science Theater 3000: Critical Approaches, Shelley S. Rees presents a collection of essays that examines the complex relationship between narrative and audience constructed by this baffling but beloved television show. Invoking literary theory, cultural criticism, pedagogy, feminist criticism, humor theory, rhetorical analysis, and film and media studies, these essays affirm the show’s narrative and rhetorical intricacy. The first section, “Rhetoric and the Empowered Audience,” addresses MST3K’s function as an exercise in rhetorical resistance. Part Two, “Mystery Science Theater 3000 and Genre,” analyzes MST3K through distinct generic traditions, including humor studies, traditional science fiction tropes, and the B-movie. Finally, the third section addresses postmodern and intertextual readings of the show. By providing an academic treatment of an iconic television phenomenon, these essays argue that Mystery Science Theater 3000 is worthy of serious scholarly attention. Though aimed at a discerning readership of academics, this collection will also appeal to the intellectual nature of the show’s well-educated audience.
Since Aristotle, genre has been one of the fundamental concepts of literary theory, and much of the world's literature and criticism has been shaped by ideas about the nature, function and value of literary genres. Modern developments in critical theory, however, prompted in part by the iconoclastic practices of modern writers and the emergence of new media such as film and television, have put in question traditional categories, and challenged the assumptions on which earlier genre theory was based. This has led not just to a reinterpretation of individual genres and the development of new classifications, but also to a radically new understanding of such key topics as the mixing and evolution of genres, generic hierarchies and genre-systems, the politics and sociology of genres, and the relations between genre and gender. This anthology, the first of its kind in English, charts these fascinating developments. Through judicious selections from major twentieth-century genre theorists including Yury Tynyanov, Vladimir Propp, Mikhail Bakhtin, Hans Robert Jauss, Rosalie Colie, Fredric Jameson, Tzvetan Todorov, Gérard Genette and Jacques Derrida, it demonstrates the central role that notions of genre have played in Russian Formalism, structuralism and post-structuralism, reception theory, and various modes of historical criticism. Each essay is accompanied by a detailed headnote, and the volume opens with a lucid introduction emphasising the international and interdisciplinary character of modern debates about genre. Also included are an annotated bibliography and a glossary of key terms, making this an indispensable resource for students and anyone interested in genre studies or literary theory.
Novel-Poetry examines the verse-novel--a hybrid genre that emerged in the middle decades of Britain's nineteenth century--to make a larger claim about the nature of genre and formal structures for time, action, and identity that cross genres. The volume uncovers trajectories of literary influence that structure our approach to literature and affect how we shape our lives, lives which are often constrained by cause-and-effect and narrative-driven ways of approaching time and possibility. Novel-Poetry tracks an alternative way of thinking about time and event that was inspired by the French Revolution, popularized by Lord Byron, and explored by experimental Victorian poets such as Elizabeth Barrett Browning, Robert Browning, Arthur Hugh Clough, and George Meredith. The volume turns to the work of philosophers Alain Badiou, Jean-Pierre Dupuy, and Slavoj %Zi%zek to theorize this alternative mode, which it aligns with the "futur antérieur." The temporality of the future anterior disrupts both the novel's realist chronologies and the expressivist lyric's cult of "the moment," thus liberating possibilities for collective action. Ranging widely across romantic lyric poetry, Victorian novels, and nineteenth-century and contemporary literary theory, Novel-Poetry asks, what alternative structures and temporalities does a focus on either realistic narrative or the lyric moment occlude? Are there ways of thinking about lived experience and personal or collective agency that do not conform to traditional models, ways that the verse-novel might help us to explore? What might be gained today from trying to think about ourselves and our world outside of established frameworks that are now so naturalized as to feel almost inescapable? This is an open access title available under the terms of a CC BY-NC-ND 4.0 licence.
The ability to construct a nuanced narrative or complex character in the constrained form of the short story has sometimes been seen as the ultimate test of an author's creativity. Yet during the time when the short story was at its most popular - the late nineteenth and early twentieth centuries - even the greatest writers followed strict generic conventions that were far from subtle. This expanded and updated translation of Florence Goyet's influential La Nouvelle, 1870-1925: Description d'un genre à son apogée (Paris, 1993) is the only study to focus exclusively on this classic period across different continents. Ranging through French, English, Italian, Russian and Japanese writing - particularly the stories of Guy de Maupassant, Henry James, Giovanni Verga, Anton Chekhov and Akutagawa Ry?nosuke - Goyet shows that these authors were able to create brilliant and successful short stories using the very simple 'tools of brevity' of that period. In this challenging and far-reaching study, Goyet looks at classic short stories in the context in which they were read at the time: cheap newspapers and higher-end periodicals. She demonstrates that, despite the apparent intention of these stories to question bourgeois ideals, they mostly affirmed the prejudices of their readers. In doing so, her book forces us to re-think our preconceptions about this 'forgotten' genre.
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.
Rhetorical Interaction in 1 Corinthians 8 and 10 is a formal analysis of Paul's rhetorical interaction with the Corinthians over the issues of participation in the cultic meal (1 Cor. 10:1-22) and the eating of idol food (1 Cor. 8:1-13, 10:23-11:1). The thesis is that Paul's theology and rhetoric are predicated on knowledge and love. Major portions of the book employ rhetorical, sociological, archaeological, and historical-critical approaches to examine the triangular interaction between Paul, the Corinthians, and the biblical texts, paying particular attention to the complex configuration of the Corinthian congregation, including the influence of proto-Gnosticism, as well as the ways Paul responded to the shifting situation and different issues. The two chapters on rhetorical-hermeneutical theory and criticism are especially creative as the author suggests a Chinese hermeneutic for cross-cultural dialogues, the issue of ancestor worship being a specific example.