By R. Bracht Branham
Mikhail Bakhtin's severe and theoretical experiments have encouraged unique paintings within the humanities and social sciences, yet Bakhtin and the Classics is the 1st booklet to target the connection among Bakhtin and classical experiences, the self-discipline during which Bakhtin himself used to be expert. in actual fact demonstrating the basic significance of classical literature in his paintings, Bakhtin and the Classics expands our knowing of either Bakhtin's idea and the literary and cultural heritage of antiquity.
The authors, eminent classicists and special critics of Bakhtin, placed Bakhtin into discussion with the classics--and classicists into discussion with Bakhtin. each one essay bargains a serious account of a massive point of Bakhtin's concept and examines the worth of his procedure within the context of literary or cultural historical past. starting with an summary of Bakhtin's proposal of carnival laughter, might be his primary serious idea, the quantity explores Bakhtin's suggestion and writing with regards to Homer's epic verse. Catullus's lyric poetry, historic Roman novels, and Greek philosophy from Aristotle's conception of narrative to the paintings of Antiphon the Sophist. the implications are of curiosity and significance to Bakhtinians, theorists, and classicists.
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Extra resources for Bakhtin and the classics
The above argument is yet another reason why Bakhtin might have been so drawn to Dostoevsky. That great Russian novelist argued in much the same way against the economic materialists and nihilists of his own 1860s. 20 An ideal will always grow alongside us, whereas a balance sheet breathes death. It also explains why Dostoevsky and Bakhtin, living out their lives in a materialist age, r Coming to Terms with Bakhtin's Carnival I 3 were almost clinically interested in miracles, those moments where the absolutely unaccountable occurs.
Carnival is always surplus oriented (izbytochn yi) and produces more ways in, and more unexpected ways out, than one needs. Thus such art can never be fully utilitarian, representational, or accountable in a strictly economic sense. The above argument is yet another reason why Bakhtin might have been so drawn to Dostoevsky. That great Russian novelist argued in much the same way against the economic materialists and nihilists of his own 1860s. 20 An ideal will always grow alongside us, whereas a balance sheet breathes death.
It works in bursts. 9 Thus laughter is a wonderful human resource. "10 O f the three basic theories about why we laugh— because we feel superior (the view of Plato and Aristotle), because we are struck by an incongruity (the view of Kant, Kierkegaard, Schopenhauer, Bergson), and because we seek relief (Freuds psychophysiological explanations)11 — Bakhtin would have endorsed the second and sympathized, probably, with the third. Where he departs from these classic theorists and contributes an intonation of his own is in his emphasis on the sanity, goodness, and normalcy of a self that is split and "alienated" by laughter.