मिखाइल बाख़्तिन
हर व्यक्ति सत्ता में एक अद्वितीय स्थान रखता है जिसका उत्तर कोई और नहीं दे सकता; जीना और बोलना दूसरों को उत्तर देना है, और अर्थ स्वरों के संवाद में उठता है जिसे कोई एक स्वर आत्मसात नहीं कर सकता।
पृष्ठभूमि
रूसी दार्शनिक और साहित्य-सिद्धांतकार जिन्होंने अद्वितीय, “उत्तरदायी” कर्म की नीति से आरंभ किया और दोस्तोयेव्स्की के उपन्यासों में स्वतंत्र स्वरों की बहुस्वरता पाई; संवाद और कार्निवल के उनके विचार 1960 के दशक में पुनः खोजे गए।
मुख्य विचार
- संवादवाद
- बहुस्वरता
- कार्निवल और विकृत-विचित्र
- कर्म की जवाबदेही
प्रभाव
जिनसे प्रभावित 2
फ़्योदोर दोस्तोयेव्स्की
जिनसे प्रभावित ✓
In his Dostoevsky book (1929; revised 1963) Bakhtin argued that the novelist lets independent voices meet without subordinating them to one authorial truth, and called this polyphony. M. M. Bakhtin, Problemy tvorčestva Dostoevskogo (1929); Problemy poėtiki Dostoevskogo (1963)
साक्ष्य: Wikidata में भी · Wikidata
फ़्योदोर दोस्तोयेव्स्की › 1821–1881
मैक्स शेलर
जिनसे प्रभावित
In ‘Author and Hero in Aesthetic Activity’ (early 1920s; publ. 1979) Bakhtin drew on Scheler’s critique of empathy as fusion (1913) for the author’s outsideness. M. M. Bakhtin, “Author and Hero in Aesthetic Activity” (early 1920s; publ. 1979); M. Scheler, Zur Phänomenologie und Theorie der Sympathiegefühle (1913); Wesen und Formen der Sympathie (1923); B. Poole, “From phenomenology to dialogue”, in K. Hirschkop and D. Shepherd (eds.), Bakhtin and Cultural Theory (2nd ed., 2001)
साक्ष्य: AI मसौदा
मैक्स शेलर › 1874–1928
जिन्हें प्रभावित किया 2
त्ज़वेतान तोदोरोव
जिन्हें प्रभावित किया
Todorov presented Bakhtin’s work as a theory of the dialogical principle (Mikhaïl Bakhtine, le principe dialogique, 1981), marking his own turn from structural poetics to dialogue and otherness. T. Todorov, Mikhaïl Bakhtine, le principe dialogique (1981); Critique de la critique (1984)
साक्ष्य: AI मसौदा
त्ज़वेतान तोदोरोव › 1939–2017
जूलिया क्रिस्टेवा
जिन्हें प्रभावित किया ✓
In ‘Le mot, le dialogue et le roman’ (1967) Kristeva derived intertextuality from Bakhtin’s dialogism: every text absorbs and transforms other texts. J. Kristeva, “Le mot, le dialogue et le roman”, Critique (1967), in Sēmeiōtikē. Recherches pour une sémanalyse (1969)
साक्ष्य: Wikidata में भी · Wikidata
जूलिया क्रिस्टेवा › जन्म 1941
कृतियाँ
दोस्तोयेव्स्की ने बहुस्वर उपन्यास रचा, जिसमें पात्रों के स्वर लेखक के स्वर के बगल में स्वतंत्र चेतनाओं के रूप में खड़े होते हैं (संशोधित संस्करण 1963)।
मध्यकालीन और पुनर्जागरणकालीन कार्निवल-संस्कृति का अध्ययन: हँसी, विकृत-विचित्र शरीर और पदानुक्रम का अस्थायी उलट जाना।
मत
Bakhtin’s early fragments, written around 1920 and published only in the 1980s, develop an ethics of the singular act: each person occupies a unique place in being, for which there is no alibi, and theoretical systems miss this answerability. In the Dostoevsky book he argued that the novelist does not subordinate his characters to one authorial truth but lets independent voices meet – polyphony. Later essays such as “Discourse in the Novel” (1934–35) treat every utterance as a response within a dialogue of social languages. The Rabelais book reads popular laughter and carnival as a temporary suspension of hierarchy. Julia Kristeva introduced him in France in 1967 and derived intertextuality from his dialogism; Tzvetan Todorov presented him as the theorist of the dialogical principle (1981). Whether Bakhtin wrote the books published under the names of Voloshinov (“Marxism and the Philosophy of Language”, 1929) and Medvedev (“The Formal Method in Literary Scholarship”, 1928) is disputed: Vyacheslav Ivanov claimed so in 1973, Katerina Clark and Michael Holquist (1984) largely agreed, while many scholars treat them as works of their named authors within a shared circle. Critics such as Terry Eagleton have called carnival a licensed release that confirms rather than overturns order.
जीवन और संदर्भ
Mikhail Mikhailovich Bakhtin was born on 16 November 1895 in Oryol into a family of bank employees. He later stated that he had studied classics at Petrograd University; whether he completed a degree is not documented and is doubted in recent research. From 1918 he taught in Nevel and from 1920 in Vitebsk, where a circle formed around him that included the philosopher Matvei Kagan, the musicologist Valentin Voloshinov and the literary scholar Pavel Medvedev. In 1924 he moved to Leningrad. In December 1928 he was arrested in connection with a religious-philosophical circle; his Dostoevsky book appeared in 1929, and his sentence of five years in the Solovki camp was commuted to exile in Kustanai in Kazakhstan, where he lived until 1936, working among other things as a bookkeeper. He then taught in Saransk, lived in small towns near Moscow, lost a leg to osteomyelitis in 1938 and in 1940 submitted his dissertation on Rabelais, defended in 1946. From 1945 to 1961 he taught at the pedagogical institute, later the university, in Saransk. He saw the revised Dostoevsky book (1963) and the Rabelais book (1965) published. He died in Moscow on 7 March 1975.
अन्य प्रमुख कृतियाँ
- Toward a Philosophy of the Act (K filosofii postupka, written early 1920s, published 1986)
- Author and Hero in Aesthetic Activity (Avtor i geroi v esteticheskoi deiatel’nosti, written 1920s, published 1979)
- Problems of Dostoevsky’s Art (Problemy tvorchestva Dostoevskogo, 1929; revised as Problems of Dostoevsky’s Poetics, Problemy poetiki Dostoevskogo, 1963)
- Discourse in the Novel (Slovo v romane, written 1934–35, published 1975)
- Rabelais and His World (Tvorchestvo Fransua Rable i narodnaia kul’tura srednevekov’ia i Renessansa, 1965)
- The Problem of Speech Genres (Problema rechevykh zhanrov, written early 1950s, published 1979)
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