Keywords: Carnival | Chronotope | Dialogue | Heteroglossia | Humanities | Language | Literature | Monologism | Polyphony In such a novel, divested of its language diversity, authorial language inevitably ends up in the awkward and absurd position of the language of stage directions in plays. The novel, when torn out of authentic linguistic speech diversity, emerges in most cases as a “closet drama,” with detailed, fully developed and “artistically worked out” stage directions (it is, of course, bad drama). We quickly sense that such an author finds it easy to purge his work of speech diversity: he simply does not listen to the fundamental heteroglossia inherent in actual language he mistakes social overtones, which create the timbres of words, for irritating noises that it is his task to eliminate. We will recognize the naively self-confident or obtusely stubborn unity of a smooth, pure single-voiced language (perhaps accompanied by a primitive, artificial, worked-up double-voicedness). He may, of course, crete an artistic work that compositionally and thematically will be similar to a novel, will be “made” exactly as a novel is made, but he will not thereby have created a novel. “If the novelist loses touch with this linguistic ground of prose style, if he is unable to attain the heights of a relativized, Galilean linguistic consciousness, if he is deaf to organic double-voicedness and to the internal dialogization of living and evolving discourse, then he will never comprehend, or even realize, the actual possibilities and tasks of the novel as a genre. As a result of this severance from the producing life of the whole and from the collective struggle with nature, their real links with the life of nature are weakened-if not severed altogether.” Food, drink, copulation and so forth lose their ancient "pathos" (their link, their unity with the laboring life of the social whole) they become a petty private matter they seem to exhaust all their significance within the boundaries of individual life. The ancient motifs that had passed into the individual life-narratives here undergo a specific kind of degeneration. Here the individual sequence takes on its specific private character and what is held in common becomes maximally abstract. The process of separating out and detaching individual life-sequences from the whole reaches its highest point when financial relations develop in slaveholding society, and under capitalism. Within the boundaries of individual life-series, an interior aspect makes itself apparent.
#Bakhtin chronotope dialogic imagination series#
The course of individual lives, of groups, and of the sociopolitical whole do not fuse together, they are dispersed, there are gaps they are measured by different scales of value each of these series has its own logic of development, its own narratives,Įach makes use of and reinterprets the ancient motifs in its own way. But nevertheless they are separate, even here. Thus in the early stages of slaveholding society and in feudal society, individual life-sequences are still rather tightly interwoven with the common life of the most immediate social group. “Society itself falls apart into class and intraclass groups individual life-sequences are directly linked with these and together both individual life and subgroups are opposed to the whole.
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