tag:blogger.com,1999:blog-598855261912396057.post4443886362181126793..comments2023-10-25T11:03:30.625-04:00Comments on wrd.wthiin.woord: SPALTUNG # 2troylloydhttp://www.blogger.com/profile/14706450196335510065noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-598855261912396057.post-27659037093998412882008-07-02T00:39:00.000-04:002008-07-02T00:39:00.000-04:00Spaltung f ͢ 'splittingscission / scission “Le r...Spaltung f ͢ 'splitting<BR/><BR/>scission / scission <BR/><BR/>“Le roman polyphonique” <BR/><BR/>(Zwiespalt) <BR/><BR/>Insofar as the subject is barred as a consequence of the Spaltung induced by language, it is to be regarded as that which one signifier (any signifier S2)<BR/><BR/>“counter-discourse to the discourse of the utterer” <BR/><BR/>The oppositions epic/novel, monoglossia/polyglossia, centripetal/centrifugal seem to endorse the claim of an incommensurable character of these concepts. However, the logical conclusion of such a theoretical stand would lead to the paradoxical affirmation that the originator of a theory based on dialogue, is ultimately a dualistic thinker who developed a static typology of literature.<BR/><BR/>(brèche du moi) <BR/><BR/>“spaltung du sujet que la psychoanalyse établira avec précaution scientifique”<BR/><BR/>(pulvérise le sujet parlant) <BR/><BR/>“unfinalizability of human consciousness” <BR/><BR/>notes:<BR/><BR/>7. Bakhtin speaks of a “refracting of the author’s intentions” by the narrator’s story. Accordingly, he seems to endorse an intentionality of the author as he affirms that “if one fails to sense […] the intentions and actions of the author himself, then one fails to understand the work". It is in this sense, that I make use of the notion of “author” instead of narrator, while being conscious of the postmodern dismantling of this concept.<BR/><BR/>8. The emphasis on hearing is central for Bakhtin and is mirrored in his penchant for concepts derived from musical terminology; the most obvious examples being the term “polyphonic novel” and “orchestration.”<BR/><BR/>10. Indeed, the same considerations apply to the binary “novel-poetry.” The fact that Bakhtin often uses poetic works to illustrate the functioning of dialogized heteroglossia already blurs the frontiers between genres rather than “walling them off.”<BR/><BR/>WORKS CITED:<BR/><BR/>Nidesh Lawtoo<BR/>via<BR/>Linguaromana.byu.eduAnonymousnoreply@blogger.com