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MIKHAIL BAKHTIN/ 2011
(  Satoshi Kinoshita )
| Series: | Prints on paper: Portraits 3 | | Medium: | Giclée on Japanese matte paper | | Size (inches): | 16.5 x 11.7 (paper size) | | Size (mm): | 420 x 297 (paper size) | | Edition size: | 25 | | Catalog #: | PP_0203 | | Description: | From an edition of 25. Signed, titled, date, copyright, edition in pencil on the reverse / Aside from the numbered edition of 5 artist's proofs and 2 printer's proofs.
"Every level of expression from live conversational dialog to complex cultural expression in other genres and art works is an ongoing chain or network of statements and responses, repetitions and quotations, in which new statements presuppose earlier statements and anticipate future responses."
- Mikhail Bakhti, Dialogue/Dialogic/Dialogism
Mikhail Bakhtin -
Mikhail Mikhailovich Bakhtin (Russian: Михаи́л Миха́йлович Бахти́н, pronounced [mʲɪxʌˈil mʲɪˈxajləvʲɪtɕ bʌxˈtʲin]) (November 17, 1895, Oryol – March 7, 1975) was a Russian philosopher, literary critic, semiotician[1] and scholar who worked on literary theory, ethics, and the philosophy of language. His writings, on a variety of subjects, inspired scholars working in a number of different traditions (Marxism, semiotics, structuralism, religious criticism) and in disciplines as diverse as literary criticism, history, philosophy, anthropology and psychology. Although Bakhtin was active in the debates on aesthetics and literature that took place in the Soviet Union in the 1920s, his distinctive position did not become well known until he was rediscovered by Russian scholars in the 1960s.
Introduction:
Bakhtin had a difficult life and career, and few of his works were published in an authoritative form during his lifetime.[2] As a result, there is substantial disagreement over matters that are normally taken for granted: what discipline he worked in (was he a philosopher or literary critic?), how to periodize his work, and even what texts he wrote (see below). He is known for a series of concepts that have been used and adapted in a number of disciplines: dialogism, the carnivalesque, the chronotope, heteroglossia and "outsidedness" (the English translation of a Russian term vnenakhodimost, sometimes rendered into English—from French rather than from Russian—as "exotopy"). Together these concepts outline a distinctive philosophy of language and culture that has at its center the claims that all discourse is in essence a dialogical exchange and that this endows all language with a particular ethical or ethico-political force.
As a literary theorist, Bakhtin is associated with the Russian Formalists, and his work is compared with that of Yuri Lotman; in 1963 Roman Jakobson mentioned him as one of the few intelligent critics of Formalism.[3] During the 1920s, Bakhtin's work tended to focus on ethics and aesthetics in general. Early pieces such as Towards a Philosophy of the Act and Author and Hero in Aesthetic Activity are indebted to the philosophical trends of the time—particularly the Marburg School Neo-Kantianism of Hermann Cohen, including Ernst Cassirer, Max Scheler and, to a lesser extent, Nicolai Hartmann. Bakhtin began to be discovered by scholars in 1963,[3] but it was only after his death in 1975 that authors such as Julia Kristeva and Tzvetan Todorov brought Bakhtin to the attention of the Francophone world, and from there his popularity in the United States, the United Kingdom, and many other countries continued to grow. In the late 1980s, Bakhtin's work experienced a surge of popularity in the West.
Bakhtin’s primary works include Toward a Philosophy of the Act, an unfinished portion of a philosophical essay; Problems of Dostoyevsky’s Art, to which Bakhtin later added a chapter on the concept of carnival and published with the title Problems of Dostoyevsky’s Poetics; Rabelais and His World, which explores the openness of the Rabelaisian novel; The Dialogic Imagination, whereby the four essays that comprise the work introduce the concepts of dialogism, heteroglossia, and chronotope; and Speech Genres and Other Late Essays, a collection of essays in which Bakhtin concerns himself with method and culture.
In the 1920s there was a "Bakhtin school" in Russia, in line with the discourse analysis of Ferdinand de Saussure and Roman Jakobson.[4]
Works and ideas: Toward a Philosophy of the Act
Toward a Philosophy of the Act was first published in the USSR in 1986 with the title K filosofii postupka. The manuscript, written between 1919–1921, was found in bad condition with pages missing and sections of text that were illegible. Consequently, this philosophical essay appears today as a fragment of an unfinished work. Toward a Philosophy of the Act comprises only an introduction, of which the first few pages are missing, and part one of the full text. However, Bakhtin’s intentions for the work were not altogether lost, for he provided an outline in the introduction in which he stated that the essay was to contain four parts.[9] The first part of the essay deals with the analysis of the performed acts or deeds that comprise the actual world; "the world actually experienced, and not the merely thinkable world." For the three subsequent and unfinished parts of Toward a Philosophy of the Act Bakhtin states the topics he intends to discuss. He outlines that the second part will deal with aesthetic activity and the ethics of artistic creation; the third with the ethics of politics; and the fourth with religion.[10]
Toward a Philosophy of the Act reveals a young Bakhtin who is in the process of developing his moral philosophy by decentralizing the work of Kant. This text is one of Bakhtin’s early works concerning ethics and aesthetics and it is here that Bakhtin lays out three claims regarding the acknowledgment of the uniqueness of one’s participation in Being:
1. I both actively and passively participate in Being.
2. My uniqueness is given but it simultaneously exists only to the degree to which I actualize this uniqueness (in other words, it is in the performed act and deed that has yet to be achieved).
3. Because I am actual and irreplaceable I must actualize my uniqueness.
Bakhtin further states: "It is in relation to the whole actual unity that my unique thought arises from my unique place in Being."[11] Bakhtin deals with the concept of morality whereby he attributes the predominating legalistic notion of morality to human moral action. According to Bakhtin, the I cannot maintain neutrality toward moral and ethical demands which manifest themselves as one’s voice of consciousness.[12]
It is here also that Bakhtin introduces an "architectonic" or schematic model of the human psyche which consists of three components: "I-for-myself", "I-for-the-other", and "other-for-me". The I-for-myself is an unreliable source of identity, and Bakhtin argues that it is the I-for-the-other through which human beings develop a sense of identity because it serves as an amalgamation of the way in which others view me. Conversely, other-for-me describes the way in which others incorporate my perceptions of them into their own identities. Identity, as Bakhtin describes it here, does not belong merely to the individual, rather it is shared by all.[13]
Notes:
1. ^ Maranhão 1990, p.197
2. ^ Brandist The Bakhtin Circle, 1-26
3. ^ a b Holquist Dialogism, p.183
4. ^ Peter Ludwig Berger Redeeming Laughter: The Comic Dimension of Human Experience (1997) p.86
9. ^ Liapunov xvii
10. ^ Bakhtin 54
11. ^ Bakhtin 41
12. ^ Hirschkop 12-14
13. ^ Emerson and Morson
-http://en.wikipedia.org/wiki/Mikhail_Bakhtin
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