Bakhtin Reframed: Interpreting Key Thinkers for the Arts (Contemporary Thinkers Reframed)
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Deborah J. Haynes uses Bakhtinian concepts to interpret a range of art from religious icons to post-Impressionist painters and Russian modernists to demonstrate how the application of his thought to visual culture can generate significant new insights. Rehabilitating some of Bakhtin's neglected ideas and reframing him as a philosopher of aesthetics, Bakhtin Reframed will be essential reading for the huge community of Bakhtin scholars as well as students and practitioners of visual culture.
lends itself to facile application because everyone has a common-sense understanding of what it is: an individual talks, another person listens, responds, and the conversation proceeds. In a work of art an artist enters into dialogue (in actual, historical or mythological time) and expresses something about a place, person or event. Bakhtin, however, meant more than just the simple exchange of ideas, words or images. Dialogue and the dialogic are perhaps the most misunderstood of his concepts,
life. As described in Chapter 3, an artist enters into dialogue (in actual, historical or mythological time) and expresses something about that place, person or event. First, and most speciﬁcally, dialogue refers to the fact that every utterance is by nature dialogic: it is always directed at someone in unique circumstances. 98 Bakhtin Reframed Joachim Pissarro has identiﬁed several levels of dialogue in Monet’s painting that ﬁt within this ﬁrst deﬁnition (1997: 22–24). At the most fundamental
Saint Seraphim, of which Bakhtin was a member (Clark and Holquist 1984: 140). Among artists who stayed in Russia past the late 1920s, the artistic experimentation of the early twentieth century was replaced by conservative mandatory practices that matched Stalinist ideologies in the 1930s and 1940s. Such political and cultural events aside, Bakhtin’s writing may also be seen in relation to the larger discussions and 113 Context, reception and audience debates about the relationship of form and
the present day, the recent past, and the foreseeable or desired future. These categories of time are based not on a grand historical metanarrative, but on a nuanced appreciation of outsideness and the chronotope. heteroglossia – Developed in Bakhtin’s writings of the 1930s, this term refers to the mingling of different languages, cultures and classes, where each individual language expresses a speciﬁc way of conceptualising the world. In practice, heteroglossia is evident in the presence of many
understandable, especially given that a beloved friend was very ill and dying at that time. Bakhtin’s second moment of aesthetic activity properly begins only when one returns to one’s singular place, outside of the other person or object. This occurred for me when I began to seek more information about the cultural and artistic traditions of the atal, and a few months later initiated a marble sculpture that was inspired by the atal’s form. The third moment is less relevant to my experience of