Bakhtin dialogism

What are the concepts, didactic and pedagogical proposals and practices/production of argumentative texts we found in the current context of the teaching Portuguese language? This question is relevant as we take into account the changes envisioned for the teaching of Portuguese language in recent years, especially after the implementation of the National Curriculum [PCN] in 1998. This article aims to discuss some data that reflect the current state of the teaching-learning. Based on a dialogical conception of language, according to Bakhtin / Voloshinov (2003), we tried to analyze subjectivity and desubjectivation marks in learning materials on genres of argumentative discourse and also in texts produced by high school students in various situations of enunciation in the field of speech.

This article stems from a panel we jointly convened at the i-Docs 2018 Symposium, where we presented a series of provocations with a view to generating a new theoretical framework for i-docs. These provocations were inspired by all aspects of Mikhail Bakthin's concept of polyphony, from both a theoretical and a practical point of view. This article presents these provocations and reflects further on them. A number of key issues are documented, expanded and commented upon, as a potential framework for further research, including multiplicity, the chronotope, dialogism and interaction. We propose that these lead to new ways of approaching complexity. With the aim of using juxtaposition, nonlinearity and layering to break down binaries, the article demonstrates how complexity can be embraced and, crucially, how the simplicity within it can be revealed. In other words, a key proposition here is that we should accept and celebrate complexity as the natural order of things, without needing to deny simplicity. By investigating several theoretical aspects of Bakthin's wider idea of polyphony, this article identifies some areas for potential development and offers input for further research, particularly in relation to the concepts of heteroglossia, carnival and aesthetics. This article is an expanded version of our " provocations " , a series of ideas and stimuli designed to provoke debate and set the scene for a collaborative panel session on " The Poetics and Politics of Polyphony ". We organised and hosted this session at the i-Docs 2018 Symposium held in Bristol, UK on 21–23 March 2018, based on our combined long-term and ongoing research into the subject (Aston and Odorico). 1 In the spirit of the Russian philosopher Mikhail Bakhtin, our provocations were designed to start a dialogue between us, our guests and the audience, through which we endeavoured to create an equal and open platform for the generation and exchange of ideas. A number of key issues came out of this dialogue, which we document and comment upon here as framings for further research. The structure of this article is based on the order in which we presented our provocations, using our set of six slides from the symposium, followed by a list of keywords that emerged from the ensuing discussion. As we use this structure to talk through our ideas, this is not a typical linear essay, but a series of inputs for further analysis, with certain aspects focussed on in more detail. The article also includes a few additional slides, where we have expanded upon points we first made at the symposium. Overall, the aim of the article is to explore areas of synergy with Bakhtin's thinking on polyphony, and to begin to reflect on the theoretical and practical contribution of a dialogic approach to the field of i-docs.

Wayne Vucinic Book Prize 2007, "for the most important contribution to Russian, Eurasian, and East European studies in any discipline of the humanities or social sciences." 

Endorsement by Slavoj Zizek:

"Alexei Yurchak's Everything Was Forever, Until It Was No More immediately seduced me by its very title with a profound philosophical implication that eternity is a historical category--things can be eternal for some time. The same spirit of paradox runs through the entire book--it renders in wonderful details the gradual disintegration of the Soviet system from within its ideological and cultural space, making visible all the hypocrisy and misery of this process. I consider Yurchak's book by far the best work about the late epoch of the Soviet Union--it is not just history, but a pleasure to read, a true work of art." (Slavoj Zizek, author of In Defense of Lost Causes)

Abstract:

Soviet socialism was based on paradoxes that were revealed by the peculiar experience of its collapse. To the people who lived in that system the collapse seemed both completely unexpected and completely unsurprising. At the moment of collapse it suddenly became obvious that Soviet life had always seemed simultaneously eternal and stagnating, vigorous and ailing, bleak and full of promise. Although these characteristics may appear mutually exclusive, in fact they were mutually constitutive. This book explores the paradoxes of Soviet life during the period of "late socialism" (1960s-1980s) through the eyes of the last Soviet generation.

This paper, using Mikhail Bakhtin's theory of dialogism tries to investigate the indications of dialogic voice in Odes by John Keats. Indeed this study goes through the dialogic reading of 'Ode to a Nightingale', 'Ode on a Grecian Urn', 'Ode to Psyche', and 'Ode on Melancholy', considering mythological outlooks. Analyzing Keats's odes through dialogical perspective may reveal that Keats plays a role of an involved and social poet of his own time. Moreover, Keats embraces the world of fancy and imagination to free himself from sufferings of his society. Keats' odes are influenced by expression of pain-joy reality by which he builds up a dialogue with readers trying to display his own political and social engagement. Applying various kinds of mythological elements and figures within the odes may disclose Keats's historical response and reaction toward a conflicted society and human grieves in general.

The animated music videos of Radiohead, Chris Hopewell and Gastón Viñas are entwined by intertextual threads that refer to each other in a reciprocal and generative way. As a graphic artist and applied fan of the band Radiohead, Viñas has borrowed extensively from Radiohead's music videos and associated world components in order to build new storyworlds in which his own music videos and artwork live in constant dialogue with their intertextual counterparts. Through an analysis of music videos created by Viñas, Radiohead and Hopewell, this chapter draws on the concepts of intertextuality and dialogism to argue that fan-made music video can play a significant role within a broader process of what is termed 'dialogic world-building'. This 'world-building' process gradually becomes apparent across the chapter, as a complex web of woven threads emerges from interconnected analyses of music videos, thereby demonstrating that a transmedial and transauthorial approach can enable a holistic impression of the establishment, appropriation and regeneration of 'storyworlds'. This chapter appears in The Bloomsbury Handbook of Popular Music Video Analysis, edited by Lori Burns and Stan Hawkins (2019).

This article proposes an interdisciplinary framework designed to analyse discourse, affect and surveillance. By revisiting the "omniopticon" (the many watching the many) and proposing “civeillance” as an affective dynamic of surveillance culture, it considers communicative mechanisms that reflect the interchangeable functions and normalisations of surveillance technologies in personal and public spaces. When 17-year-old Austin Haughwout was using his drone to film aerial shots of Hammonasset Beach in Connecticut, 23-year-old Andrea Mears accused him of photographing people on the beach. Mears physically attacked Haughwout, called the police and accused him of assault. During the attack, Haughwout used his phone to record the incident without Mears’ knowledge. The video was used by the police who arrested Mears for assault. The recording then featured in news stories online, where Mears was subjected to sexist abuse. The following analysis shows how affective practices and embodied meaning-making are personally, socially and technologically embedded within discursive processes of representation. Contrary to non-representational theories of affect, this framework sees affective-discursive practice as a multimodal complex of communicative components. Dialogical mechanisms of discourse and contextual complexities function through physical practices and cultural conducts, which are ideologically influenced by social relations and power structures. Discourse both affects, and is affected by, the feelings, emotions, minds, ideologies and interactive experiences that we have in personal spaces and social contexts.

Keywords: Discourse; affect; surveillance; gender; ideology; omniopticon; civeillance; drones

Hur påverkas vi av massmedia? Hur påverkas du, jag och våra medmänniskor av den information som sprids via massmedia – tidningar, tv, radio, film, annonser på bussar och i tunnelbana, cd-skivor och dvd, internet, etc, etc. – till snart sagt varje vrå av våra livsvärldar?

Som en av medieforskningens ”stora frågor” kan denna undran tyckas meningslös. Problemområdet är allt för stort. Att begränsa frågan till ett exklusivt massmedium—i detta fall den svenska löpsedeln och dess citat—är därför en praktisk nödvändighet.

Tesen i detta arbete är att löpsedlarna påverkar läsarens uppfattning av det normala och att de gör detta genom att läsaren av löpsedelscitaten måste ta till sig det sagda på ett speciellt sätt. Läsaren delar den citerades perspektiv för att förstå vad som sägs och detta innebär att läsaren i någon mån måste acceptera de värderingar som ligger till grund för den citerades handling.

I och med denna detta utgör löpsedlarnas påverkan ett exempel vars relevans sträcker sig utanför såväl det svenska som det rent journalistiska medielandskapet.

En este artículo, publicado en New Left Review, Nº 216 (marzo/abril 1996), Craig Brandist compara el trabajo de Antonio Gramsci y de Mikhail Bajtín, quienes, aunque desde vertientes diferentes, se basaron en el trabajo de Benedetto Croce para atacar -en el caso del primero- a la dictadura fascista y -en el del segundo- a la dictadura estalinista.

Meursault is not a piece of social wreckage, but a poor and naked enamoured of the sun that leaves no shadow. Far from being bereft of all feeling, he is animated by passion that is deep because it is stubborn, a passion for the absolute, and for truth." -Camus, "Preface" to "The Stranger".

Στην παρούσα ανακοίνωση υποστηρίζεται ότι η δημιουργία του είδους του νεοελληνικού
χρονογραφήματος από το λόγιο Κωνσταντίνο Πωπ (1848) συνιστά μια ρηξικέλευθη
ειδολογική επινόηση που διεμβολίζει το λογοτεχνικό κανόνα της εποχής μέσα από ένα
σώμα 45 κειμένων δημοσιευμένων υπό τον επίτιτλο «Έργα και Ημέραι» (1848-1855) στο
δημοφιλές οικογενειακό περιοδικό Ευτέρπη. Η κατά τον Φώτο Πολίτη «επικίνδυνος
καινοτομία» του νεοελληνικού χρονογραφήματος έγκειται πρωτίστως στο ότι στην
περίπτωσή του η λογοτεχνική συγγραφική δράση κατασκευάζει ένα καινοφανές είδος του
οποίου οι αισθητικές συμβάσεις διαμορφώνονται εγγενώς από το νέο και ιδιάζον
πολυτροπικό περιβάλλον του (περιοδικού τότε) Τύπου.
Θεματικά, μορφικά και επικοινωνιακά το «ανυπάκουο» χρονογράφημα του Πωπ κλονίζει
με τον αιρετικό ειδολογικό κανόνα που εισάγει τις βεβαιότητες της λογοτεχνικής
παράδοσης. Προκλητικά ανένταχτο στη λογοτεχνική ταξινομία της εποχής του, με την
καλειδοσκοπική πρισματικότητα του (αναμυθοπλασμένου) επικαιρικού υλικού του και τη
μορφολογική του «αστασία», διαρρηγνύει πρωτοποριακά αλλά αθόρυβα με τον παιγνιώδη
χρονογραφηματικό τρόπο το ρομαντικό κέλυφος και τα στερεότυπα της σύγχρονής του
ελληνικής κοινωνίας μέσα από έναν αναδυόμενο πραγματοσκοπικό ορίζοντα. Με αυτές
τις αξονικές θεματομορφικές επιλογές, ο Πωπ αγκυρώνοντας ταυτόχρονα επικοινωνιακά
το αιρετικό του είδος σε ένα κοινό κοινωνικά παραγκωνισμένο, όπως είναι το τότε
γυναικείο κοινό, δημιουργεί νέες αναγνωστικές συνθήκες και νέο αναγνωστικό ορίζοντα.
Έτσι με την αισθητικών προδιαγραφών κειμενική κατασκευή του ο Πωπ διαρρηγνύει
ουσιαστικά διά του Τύπου τον κλοιό των κατεστημένων ειδών (διηγήματος-
μυθιστορήματος), των οποίων οι ειδολογικές συμβάσεις δεν του παρέχουν την ευελιξία
διαρκούς παρακολούθησης του κοινωνικού «αειμετάβολου» ορίζοντα της εποχής του,
μιας και η ρητή απώτερη πρόθεση του πρώτου έλληνα χρονογράφου είναι η καίρια
συμβολή του στην κριτική ανατομία της ελληνικής κοινωνίας και την επί της ουσίας
πρόοδό της. Αυτή δε η «άλλη», καλλιτεχνικής απόβλεψης, χρονογραφηματική θέαση του
κόσμου, ανατρεπτική των στερεοτυπικών αντιλήψεων, λειτουργεί αντιστικτικά προς τη
δεσπόζουσα πληροφοριακή στόχευση του γενέθλιου συγκείμενου του Τύπου.
Η γέννηση του χρονογραφήματος συνεπώς προκαλεί μια αισθητή ρωγμή στο λογοτεχνικό
κανόνα της απελεύθερης Ελλάδας του 19ου αιώνα εγκαινιάζοντας αυτό που θα
μπορούσαμε να ονομάσουμε “ποιητική του Τύπου”, την ποιητική δηλαδή των
εφημεριδογενών ειδών, η οποία διαφοροποιείται καινοτομικά από τις αισθητικές
συμβάσεις της λεγόμενης «νόμιμης» λογοτεχνίας. Κοντά δε στο αμφίσημο και
ακροβατικής ισορροπίας (κατά τον Νικόλαο Επισκοπόπουλο) χρονογράφημα, θα
εμφανιστεί στον ελληνικό Τύπο στη συνέχεια το «απολλώνειου» χαρακτήρα είδος της
επιφυλλίδας όπως και το «διονυσιακού» στίγματος είδος του ευθυμογραφήματος.

Данная работа (магистерская диссертация) посвящена исследованию интервью как жанровой разновидности академического дискурса с позиций лингвопрагматики и дискурсивного анализа, а также изучению особенностей функционирования категории диалогичности в дискурсе интервью и специфических языковых средств ее реализации.

This article explores the concept of transdisciplinarity as a cultural endeavor. It centers on the concept of transdisciplinary hermeneutics, as a form of contextualizing science in the framework of cultural ideas, subjective experiences of the researchers involved in the research process, and of imagination and the artful creation of possible new realities. The concept is rooted in the work of Basarab Nicolescu and the Paris based CIRET, the " Centre International de Recherches et Études Transdisciplinaires. " In this approach, reality is seen as complex and multilayered, and cannot be known only through the lens of modern science. Philosophy, art and subjective experience are essential and complementary ways of knowledge production that provide context to scientific knowledge, giving it meaning and perspective. To be able to engage in transdisciplinary hermeneutics, researchers need to complement cognitive knowing with embodied and enacted knowing. They as well need to combine the formal and science-based language of what is seen and measured, with the poetic, polyphonic and metaphorical language of what is unseen but sensed, felt and envisioned. The article finally sketches the importance of two competencies that transdisciplinary researchers need to acquire, the competencies of mindfulness and of transdisciplinary dialogue of knowledges.

The goal of this special issue is to examine how certain modes of classroom dialogue might contribute to students' learning outcomes. The articles in this special issue share the idea of classroom talk as a problem-oriented dialogue. In other words, an interactional configuration based on exchanges among students and teachers that go beyond the predominantly monologic approaches of classroom talk. In each of the contributions to this special issue, different types of learning outcomes were studied as a result of specific ways of orchestrating classroom dialogue. All in all, the studies in this special issue yield a picture of the field as a productive research area: they provide evidence for the plausibility of the assumption that dialogic orchestrations of classroom talk may produce various desired learning and developmental outcomes in students, depending on what outcomes we want to articulate, and how they are assessed. Although the studies in this special issue yield promising results for future improvements of classroom practice more (preferably longitudinal) research is required.

Во овој труд се елаборира книжевно-теориската проблематика на дијалогизмот и интертекстуалноста и тоа преку примери од македонската романескна продукција. Станува збор, имено, за маркирање на присуството на структурни сегменти на дијалогизам и интертекстуалност во македонскиот роман при што се посочуваат илустрации од првобјавените македонски романи („Село зад седумте јасени“ од Славко Јаневски, „Крпен живот“ од Стале Попов и други) па сè до современите текови во нашиот роман (романите на Драги Михајловски, на Венко Андоновски, на Славчо Ковилоски, романот „Гаргара“ на Игор Станојоски и многу други). Во заклучокот од трудот се нагласува дека дијалогизмот и интертекстуалноста се мошне значајни сегменти на македонскиот роман од неговите почетоци па сè до денес.

The article deals with the issue of dialogical communication in Oroonoko, or The History of the Royal Slave
(1688) by Aphra Behn. The theoretical basis for the article is M. Bakhtin’s concept of the dialogue and R. Sell’s
idea of dialogicality in literature. The topical questions of race, nationality and religion are discussed in relation
to seventeenth-century England. After a brief overview of the representation of the nations other than English in
Aphra Behn’s plays, including her contribution to the prejudices against the Dutch, the main attention is paid to
her novel Oroonoko, where a set of binary oppositions of Black and White, Christian and Heathen can be found.
The prejudices towards Blacks in English culture are revealed, above all, the association of the black skin with
vice, monstrosity and sexuality. Behn’s subversion of traditional oppositions of civility and barbarity in relation to
England and English colonies and Africa is made explicit using the example of Oroonoko, the hero of the novel,
who conforms to all the standards of beauty and good education. The problem of family honour traditionally
associated with the East is raised in the analysis of the first part of the novel. Oroonoko’s attempt to have a
dialogue with White people is traced throughout the novel: first he tries to communicate with the treacherous
English captain, then with local authorities in Surinam. The failure of this dialogue is attributed to the absence of
common moral values and the refusal on the side of the Whites to treat a Black as a human being equal to them.
The end of the dialogue means the end for the hero, who becomes concentrated only on revenge and death. An
optimistic possibility of a dialogue between people of different races, nations and religion can be found in the
episode of a meeting of three nations – Whites, Blacks and South American Indians. Despite their differences,
all the participants of this meeting share common moral values. Behn’s attitude to woman’s position in Oriental
and Christian societies is also discussed in brief, as well as Oroonoko’s anti-Christian opinions stimulated by
the hypocrisy of the Christian people. The conclusion is drawn that the dialogicality we see in Oroonoko is very
important nowadays.

The following study draws on the textual analysis of Fatima Bhutto’s novel ‘The Shadow of The Crescent Moon’ with new historicist perspective. Michael Foucault’s model of Subject and Power as mentioned in his one of the authored essays ‘why study power? The Question of the Subject, is used as a framework for the study. The purpose of the study is to highlight realistic picture of Pakistani Society with reference to Bhutto’s personal life instances. This study will also focus on the author’s attempt of dismantling stereotypes associated to Pakistani women specifically and the country generally. As a post colonial writing the writer has highlighted the aftermaths of colonization which people of Tribal areas are still confronting. She has highlighted the traumatic experiences of war, bloodshed and betrayal which people have encountered specifically in post 9/11 scenario. Bhutto’s characters, in all such difficult situations have exerted their power and maintained their individuality. By the end of the novel Bhutto has concluded them as independent, accomplished and sovereign beings. Through vivid and graphic descriptions realistic Pakistani society has also been portrayed which finally fulfills the purpose of post colonial writing. Post colonial writers employ fiction as way of rewriting their history and elevating the stance of indigenous people and Bhutto has accomplished in doing so. In current scenario where every Muslim in west is suspected as terrorist, such novels help in dismantling the stereotypes attached to Muslims.

This paper investigates the theories of Mikhail Bakhtin as a means of critically examining the practices of contemporary visual artists. Directly building upon and critiquing Deborah J. Haynes’ 1995 study Bakhtin and the Visual Arts, Jordan and Haladyn argue for the importance of using the dialogic and carnivalesque in an examination of contemporary art, specifically works that use the body of the artist and/or the body of the spectator as key elements within the work. Artists discussed include: James Luna, Rebecca Belmore, Andrea Fraser, Jannis Kounellis, Rirkrit Tiravanija, and Ron Benner.

By drawing on visual data ranging from printed advertisements to digital photography, this book provides a fine-grained social semiotic analysis of a full range of visual texts in terms of specified periods, offering a complex interpretation of what different social functions these texts realise in a semiotic artefact. Situated in the semiotic landscape of the city of Hong Kong, the current study demonstrates that the social context of meaning making is an important feature of a social semiotic visual analysis. For example, it shows that the widespread use of smartphone applications has a significant impact on the personal photography of Hong Kong females, leading to socio-cultural transformations that are reflected in the representational aesthetic practices of digital photographs for self-modelling as well as an emerging gendered identity within the community. In addition, the social semiotic analysis of printed advertisements in magazines on slimming products and services also offers deep insights into the media ideologies relating to female body idealisation, gender roles and stereotypes, providing a useful sociologically relevant analysis on the basis of analytical tools from social semiotics and further pointing to the need for combining social semiotics with sociological theory and beyond. The book also discusses how social semiotic analysis might attend to the broader discursive practices, as in the case of TV commercials focussed on personal loans and luxury property. The desire of a hedonistic lifestyle has been the driving force behind these discursive practices in which social actors are idealised through semiotic resources in such a way that their semiotically shaped identities in the advertising discourse become a site of ideology on the basis of which intertextuality and the broader discourse of social stereotypes could be analysed. This book will therefore be of interest to a very wide readership in various academic fields in arts and social sciences such as semiotics, visual studies, design studies, media and cultural studies, anthropology and sociology.

Translanguaging theories emphasize a fluid, dynamic view of language and differ from code-switching/mixing theories by de-centring the analytic focus from the language(s) being used in the interaction to the speakers who are making meaning and constructing original and complex discursive practices. Trans-semiotizing theories further broaden the focus to analyse language as entangled with many other semiotics (e.g. visuals, gestures, bodily movement) in meaning making. In this paper recent developments in trans/languaging and trans-semiotizing theories are discussed in conjunction with fine-grained classroom analyses to illustrate the key role played by trans/languaging and trans-semiotizing practices in the dialogic construal of content meaning in content-based education.

Resumo: Este artigo tem como objetivo discutir a articulação multimodal – interação entre as modalidades verbal e visual – e o dialogismo na construção da configuração funcional da argumentação nas produções audiovisuais de youtubers. Como ferramenta analítica, partiu-se do modelo Toulmin, que permite a desconstrução crítica do argumento, possibilitando compreender como língua e imagem se articulam na construção da argumentação. O vídeo analisado intitula-se ―Você está em uma BOLHA SOCIAL? Descubra!‖, de autoria de Felipe Castanhari (Canal Nostalgia), publicado na plataforma YouTube em 03 de março de 2017. A incorporação do dialogismo no exame da configuração funcional da argumentação mostrou-se pertinente, na medida em que possibilitou a identificação do valor dos discursos outros na construção do argumento; a análise da interação verbo-imagética possibilitou verificar alguns dos possíveis papéis que as imagens podem assumir no layout argumentativo, indicando a relevância de se investigar de forma mais detida o papel dos recursos visuais na argumentação.

Palavras-chave: Argumentação. Toulmin. Multimodalidade. Dialogismo.

The role of place-based education (PBE) in a teacher education methods course was explored in a constructivist case study of preservice secondary English teachers during their semester of student teaching. Written and discourse data were examined through the lens of a conceptual framework of PBE. Findings suggest that PBE methods can prepare student teachers for success with classroom management, assessment, and meeting students’ individual needs. Further
research is needed to explore PBE and its role in teacher education. The implications of this research extend benefits to students and society through improvements in teacher education and connecting classrooms to communities.

""The theories of the Russian literary critic and philosopher Mikhail Bakhtin (1895-1975) are highly suggestive for helping to understand cinema, yet their usefulness has yet to be fully and accessibly articulated in relation to the key debates of Film Studies. At the heart of this text is the key notion of chronotope, which Flanagan adapts to show how time and space 'fuse together' in cinematic narrative. Similarly crucial are the Bakhtinian concepts of dialogism and polyphony, which help to address fundamental questions about film form and reception. The 'unfinalizable' Bakhtinian word seems to hold great significance for a changing media world where meanings seem constantly renewable, and diffuse practices of spectatorship outgrow earlier, rigid models of interpretation. Via case studies of a diverse range of films (from Die Hard 4.0 to House of Games, The Searchers to The Incredibles), this book vividly demonstrates that Bakhtin's theories can bring about an exciting intervention into some of the most contested areas of film theory.

'A well-needed instalment in the sparse critical work on Bakhtin and cinema...this study unlocks new ways of understanding the circulation and production of film meaning.'
- Hunter Vaughan, New Review of Film and Television Studies""

In order to narrate one among a handful of unofficial versions of the American dream of upward mobility and wealth, the Chinese-American writer Shawn Hsu Wong employs dialogism, also known as double-voicing, as the main narrative strategy in the short story "Each Year Grain." The presence of two types of dialogism in the story demonstrates a logocentric relation between white monologic America and dialogic Asian America, where the latter is the absent, silent other that exists along the margins of the mainstream culture and as a second voice embedded in each enunciation. Wong mixes some non-Western literary conventions such as talk-story and extraliterary discursive instances such as history, law, geography, and autobiography to produce tension between the hegemonic white American cultural history and the Chinese American cultural history, that is, to introduce double-voicing.

Resumo: O presente trabalho se propõe a refletir acerca da contribuição dos gêneros
discursivos como foco educacional multiletrado. Embora a concepção de gênero,
fundamentada nas discussões propostas pelos estudos bakhtinianos, apareça em
documentos oficiais como os PCN’s, é necessário pensar sobre como eles têm circulado,
são recebidos e produzidos na escola para se pensar acerca da efetiva importância do
trabalho com gêneros em sala-de-aula e esta é a relevância deste artigo. A hipótese é a de
que, reduzidos, muitas vezes, à forma material, os gêneros, em diversos contextos, são
utilizados como pretexto para o ensino da gramática normativa ou de outro conteúdo
pontual. Por isso, este artigo apresenta uma reflexão propositiva embrionária de trabalho
com os gêneros de maneira dialógica (especialmente voltada às relações interdiscursivas e
intertextuais de determinado enunciado), com vistas à formação multiletrada. O objetivo é
verificar a pertinência da abordagem interativa para a efetiva formação integral, que
compreende a esfera educacional como prática social. Entende-se a aula como
acontecimento de um evento único, ato singular. E, para demonstrar concretamente como é
possível realizar um trabalho de formação crítica emancipatório, com vistas ao exercício da
cidadania, função essencial da escola, parte-se aqui de uma ilustração: um embrião
prototípico dialógico, concebido com Dom Casmurro – o romance, a minissérie e uma
história em quadrinhos –, tendo como foco a integralidade (conteúdo-forma-estilo)
enunciativa situada/contextualizada nas práticas sociais, calcado em alguns processos
figurativos (metafóricos e metonímicos).
Palavras-Chave: Estudos bakhtinianos. Gêneros discursivos. Multiletramentos.
Acontecimento. Aula.

Abstract: This paper proposes to reflect about the contribution of discursive genres as an
educational focus in multiliteracies. Although the concept of genre, grounded in the
discussions proposed by the Bakhtinian studies, appears in official documents such as the
“PCNs”, it is necessary to reflect on how they have been circulated, received and produced
at school to think about the effective importance of working with genres in the classroom and
this is the relevance of this article. The hypothesis is that, often reduced to the material form,
the genres in various contexts are used as a pretext for the teaching of normative grammar
or other punctual content. Therefore, this article presents a propositional embryonic reflection
of work with genres in a dialogical way (especially focused on the interdiscursive and
intertextual relations of a certain utterance), with a view to education in multiliteracies. The
objective is to verify the relevance of the interactive approach to the effective integral
formation, which includes the educational sphere as social practice. Class is understood as
the occurrence of a unique event, a singular act. And to demonstrate concretely how it is
possible to carry out a work of emancipatory critical education, with a view to the exercise of
citizenship, an essential function of the school, we start with an illustration: a prototypical
dialogical embryo conceived with Dom Casmurro – the novel, the miniseries and the comic
book –, with focus on situated/contextualized enunciative completeness (content-form-style)
in social practices, based on some figurative (metaphorical and metonnymic) processes.
Keywords: Bakhtin studies. Discursive genres. Multiliteracies. Event. Class

The term "poetic grammar" refers to the formal patterns that distinguish poetic registers from other modes of speech: for example, patterns in meter and rhyme schemes. For many poetic traditions, function is also a distinguishing feature: epic poetry is a vehicle for heroic lore, for instance, and liturgical hymns convey entreaties to gods. Thus, poetic genres are characterized in terms of patterns in sound or typical topics; connections between form and function are most often left unexplored. My dissertation examines relationships between traditional formal "structuring devices" and the quite heterogeneous functions of a selection of hymns from the Rig Veda, the most ancient of Indic liturgical texts and one of considerable self-conscious poetic intricacy. Working in the traditions of interdisciplinary poetics pioneered by such figures as Roman Jakobson and Mikhail Bakhtin, and building on the insights of historical linguistics, I will explore how the phonological, grammatical and lexical patterns that comprise formal structuring devices are used to shape a discourse, and to further specific rhetorical goals of the Rigvedic poet Vasiṣṭha, among other speakers.

Κωστούλη, Τ. & Στυλιανού, Μ. (2015). ∆ιαµορφώνοντας νέες οπτικές για τη γλωσσική εκπαίδευση στην εποχή της κρίσης: Γλωσσοδιδακτικοί Λόγοι και παιδαγωγικές πρακτικές στα νέα Προγράµµατα Σπουδών Ελλάδας και Κύπρου, Στο Γρόλλιος, Γ., Λιάµπας, Α. & Παυλίδης, Π. (2015). Πρακτικά 4ου ∆ιεθνούς Συνέδριου για την Κριτική Εκπαίδευση µε θέµα: «Η Κριτική Εκπαίδευση στην Εποχή της Κρίσης», σελ. 617-649. http://www.eled.auth.gr/, ηµεροµηνία πρόσβασης 28/02/2015.

The paper explores psychological experimentation in fiction with chronotope, point of view, a forgetful narrator to develop dual narration technique when the older character qualifies memories to synchronize with the present. Reconstruction provides polyphonic contexts.
Key words: chronotype, consciousness, memory, dialogism, polyphony


Психология и хронотоп сознания в романе Эммы Хили
«Элизабет пропала»

Автор статьи анализирует психологический эксперимент в романе, задействуя такие категории, как хронотоп, точка зрения, забывчивый рассказчик для создания дуальной повествовательной техники. Реконструируя события прошлой жизни, рассказчик, сопоставляя их с настоящим, обеспечивает полифоничность контекстов.
Ключевые слова: хронотоп, сознание, память, диалогизм, полифония.

T.S. Eliot's "The Waste Land" appeared in 1922, Rilke's "Duino Elegies" in 1923. So both belong to the great decade of 'classical' Modernism in which many authors tried to account for, or even to compensate for the breakdown of the European cultural tradition, which the Great War had completed rather than caused. In this cultural crisis, doubt in the vitality of the occidental tradition and a sceptical attitude towards the newly risen forces of modernisanon led to a wide-spread interest in myth and in ancient and foreign cultural traditions.
This, in short, is the historical background of my essay. I will try to show that "The Waste Land" and the "Duino Elegies" use dialogical poetics (which can both be described in the terminology of the Russian critic Mikhail Bakhtin) in very different ways, and that the difference between these versions of dialogism can help to elucidate basis differences between Eliot's and Rilke's versions of poetic Modernism.

Mikhail Bakhtin, with his notions of Dialogism, Polyphony, Chronotope, Carnival and so forth, was one of the most important theorists of discourse in the twentieth century. The theory of chronotope, which was introduced as part of Einstein's Theory of Relativity, made a significant contribution not only to the mathematics but also to the literary scholarship. In this article, based on his essay Forms of Time and Chronotope in The Novel (one of the four essays in his book, The Dialogic Imagination [first published as a whole in 1975]), most important types of chronotopes classified according to such kinds of literary genres are mentioned and compared at some points.
Keywords: Mikhail Bakhtin, Forms of Time and Chronotope, François Rabelais, Literary criticism

I esteem this essay to be one of the most significant essays I have ever written; it performs with John 6 something similar to what J. Louis Martyn achieved with John 9. Note, however, that four or five crises, or dialogical engagements, within the Johannine situation are herein involved, not just a Johannine-Jewish dialogue. Also, rather than being "off limits" for Johannine Gospel studies, the Epistles and other writings are here drawn into the contextual situation, evincing a variety of issues, not simply one. It was first published in Critical Readings of John 6 (ed. by Alan Culpepper for the Biblical Interpretation Supplemental Series #22;  Leiden: E. J. Brill, 1997; reprinted in 2006, Atlanta: SBL), 1-59. This is a slightly revised version.

The purpose of the present research is to display Milan Kundera's literary techniques in showing the lethal power of silence. Identity is not to be restrained to psychology as it is a subject of study in sociology, too; therefore, the present paper tries to explore the sociological aspects of identity, embedded in Kundera's novel of the same title, Identity. Silence, as well as dialogue, can affect someone's identity; it may have different consequences, including some positive and some negative ones. The positive consequences of silence which are considered in this novel are taking shelter to silence, avoiding hysterical talkativeness, and making a dialogical self inside oneself. However; despite the positive, but sometimes temporary consequences of silence, there are negative and permanent consequences which include misunderstanding, unfairly judging the other, losing love, monologism, losing memory and consciousness, and all these together negate someone's identity and bring about abnormality and mental disorder. On a larger scale, the paper reveals that power in silence may bolster authority and may lead to someone's negation of identity under authority; hence, the consequences of silence are prone to be more destructive than constructive.