Bakhtin’s essay From the Prehistory of Novelistic Discourse focuses primarily on how a variety of texts from the past come together to create the modern novel. In his essay, “From the Prehistory of Novelistic Discourse,” Mikhail Bakhtin offers a study of novelistic discourse that emphasizes the history. Mikhail Bakhtin: From âThe Prehistory Of Novelistic Discourse’ Mikhail Bakhtin: from âThe Prehistory of Novelistic Discourse’Â I [.
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He argues that in analyzing particular stylistic aspects of a novel, one emerges with a much limited view of a work. The nature and methods available for ridiculing something are highly varied, and not exhausted by parodying and travestying in a strict sense.
We speak of a special novelistic discourse because it is only in the novel that discourse can reveal all its specific potential and achieve its true depth. The importance of parodic-travestying forms in world literature is enormous. Notify me of new comments via email.
Homer is also credited with a comic work a long poem about the fool Margit. It was the motif of madness that bakthin the figure of Odysseus from the high and straightforward plane to the comic plane of parody and travesty. A distance arose between language and reality that was to prove and indispensable condition for authentically realistic forms of discourse.
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We would have to say the same of Scarron’s Virgil travesti. The literary-artistic consciousness of the modern novel, sensing itself on the border between two languages, one literary, the other extraliterary, each of which now knows heteroglossia, also senses itself on the border of time: In most instances this drama, which follows upon the tragic trilogy, developed the same narrative and mythological motifs as had the trilogy that preceded it.
Through his discourse on quotation, Bakhtin determines that the quotation was one of the first elements responsible for parody.
Lensky’s represented poetic speech is very rfom from the direct word of the author himself as we have postulated it: According to Bakhtin we must also study speech genres, folk language, etc. The creating consciousness stands, as it were, on the boundary line between languages and styles. The comic Hercules is one of the most profound folk images for a cheerful and simple heroism, and had an enormous influence on all of world literature. Indirect discourse, however, the representation of another’s word, another’s language in intonational quotation marks, was known in the most ancient times; we encounter it in the earliest stages of verbal culture.
He then exams Greek and Latin literature and how they have prehistofy the creation of the novel. For the creating literary consciousness, existing in a field illuminated by another’s language, it is disciurse the phonetic system of its own language that stands frim, nor is it the distinctive features of its own morphology nor its own abstract lexicon – what stands out is precisely that which makes language concrete and which makes its world view ultimately untranslatable, that is, precisely the style of the languages as a totality.
Mikhail Bakhtin – from the prehistory of novelistic discourse | Makiabrooks’s Blog
In stating this, Bakhtin seems to be saying that the history of different languages and cultures and the works they created contribute to the current form of the novel today. This novelistic image of another’s style with the direct metaphors that it incorporates must be taken in intonational quotation marks within the system of direct authorial speech postulated by us herethat is, taken as if the image were parodic and ironic. The poetic metaphors in these lines as an infant’s dream’, as the moon’ and others no way function here as the primary means of representation as they would function in a direct, serious’ song written by Lensky himself ; rather they themselves have here become the object of representation, or more precisely of a representation that is parodied and stylized.
Bakhtin Discourse in the Novel Documents. By continuing to use this website, you agree to their use. They liberated the object from the power of language in which it had become entangled as if in a net; they destroyed the homogenizing power of myth over language; they freed consciousness from the power of the direct word, destroyed the thick walls that had imprisoned consciousness within its own discourse, within its own language.
This entry was posted in Uncategorized. All these types of stylistic analysis to a greater or lesser degree are remote from those peculiarities that define the novel as a genre, and they are also remote from the specifis conditions under which the word lives in the novel.
E Pathshala – The power to learn more: “From the prehistory of Novelistic Discourses”
This entry was posted in Uncategorized. The works of such literary scholars as DietrichReichCornford and others have prepared us for more correct assessment of the role and significance of parodic-travestying forms in the verbal culture of ancient times.
In this consists the categorical distinction between the novel and all straight-forward genres – the epic poem, the lyric and the drama strictly conceived. In his essay Bakhtin argues that instead of analyzing the style of a novel, one should instead analyze the intricacies of the language employed within the novel. In the second section he discusses parody, sonnet, tragedies, etc.
One who creates a direct word – whether epic, tragic or lyric – deals only with the subject whose praises he sings, or represents, novvelistic expresses, and he does so in his own language that is perceived prehistort the sole and fully adequate tool for realizing the word’s direct, objectivized meaning.
In this comic aspect, heroism and strength are retained, but they are combined with laughter and with images from the material life of the body.
It is characteristic that the Greeks were not at all embarrassed to attribute the authorship of the parodic work War between the Mice and the Frogs’ to Homer himself. However, the history of language and verbal discourse has the noveliatic to change meaning. Novelistic discourse has a lengthy prehistory, going back centuries, even thousands of years. Were we to discard intonational question marks and take the ffom of metaphors here as the direct means by which the author represents himself, we would in so doing destroy the novelistic image [obraz] of another’s style, that is, destroy precisely that image that Pushkin, as novelist, constructs here.
Bakhtin – The Prehistory of Novelistic Discourse
Like the other elements that distinguish the novel, Bakhtin spends some time going over the origin and use of the quotation, ending in its use today in the novel. But the novel is comparatively recent genre.
On Canetti’s Novelistic Sign Documents.