Manchester University Press, 1997 - 240 sivua
The Russian critic and theorist Mikhail Bakhtin is once again in favor, his influence spreading across many discourses including literature, film, cultural and gender studies. This book provides the most comprehensive introduction to Bakhtin’s central concepts and terms. Sue Vice illustrates what is meant by such ideas as carnival, the grotesque body, dialogism and heteroglossia. These concepts are then placed in a contemporary context by drawing out the implications of Bakhtin’s writings, for current issues such as feminism and sexuality. Vice’s examples are always practically based on specific texts such as the film Thelma and Louise, Helen Zahavi’s Dirty Weekend and James Kelman's How late it was, how late.
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Adlam ambivalence artistic author and hero Bakhtin and Cultural Bakhtin argues Bakhtin describes Bakhtin discusses Bakhtin points Bakhtin says Bakhtinian becomes Bella bodily body Call It Sleep carnival carnivalesque characterized characters chronotope consciousness construction Consul contemporary context critics David death dialect dialogic Dirty Weekend Dostoevsky's double-voiced elements English epic everyday example Fiction film Gary Saul Morson gender genre gism grotesque body grotesque realism heteroglossia heteroglot historical hybrid Ibid indirect discourse instance interaction Josie Josie's Kelman's Ken Hirschkop kind Kristeva Life-size linguistic literary London Lowry Lowry's Marxism meaning Menippean Menippean satire Mikhail Bakhtin monologic narrative narrator narratorial novelistic object parody particular person Poetics poetry polyphonic novel polyphony quoted Rabelais reader relation reported speech representation represented skaz social space speak stylization suggests textual Thelma and Louise theory tion University Press utterance voices Volcano Volosinov women word Yiddish Yvonne