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I. Heteroglassia
II.
Novelness
III.
Double-voiced discourse
VI. Issues to discuss
I.
Heteroglassia
Definition: many voiced or the artistic orchestration of a
diversity of social discourses an>
(Bakhtin Reader 112)
A. a situation of a subject surrounded by the myriad responses he or
she might make at any particular point, but any one
of which must be framed in a specific discourse
selected from the teeming thousands available; a way of conceiving
the world as made up of a rolling mass of languages, each of which
has its own distinct formal markers. (Holquist 69)
B. all languages of heteroglassia, whatever the principle underlying
them and making each unique, are specific points of
views on the world, forms for conceptualizing the world in words,
specific world views, each characterized by its own objects,
meanings and values. (Bakhtin 115)
C. heteroglassia governs the operation of meaning in the kind of
utterance we call a literary text, as it does in any
utterance. ( Holquist 69)
D. indicates a shift of emphasis toward social languages
rather than individual voices; if the various discourses of
heteroglossia enter the novel, they must be embodied in a speaking
human being. “Every language in the novel is a point of view, a
socio-ideological conceptual system of real social group”, otherwise
it cannot enter the novel, but equally it “must be a concrete,
socially embodied point of view, not an abstract, purely semantic
position.” (Bakhtin Reader 113)
E. words－speech－image
of language－
novel－language
of heteroglossia
(Bakhtin Reader 113)
three basic categories of the novel constructs images of language
(Bakhtin 119)
1. hybridization
a. a mixture of two social language within the limits of a single
utterance, an encounter, within the arena of an utterance, between
two different linguistic consciousness, separated from on another by
an epoch, by social differentiation or by some other factor.
b. two linguistic consciousness to be present, the one being
represented and the , other doing the representing, with each
belonging to a different system of , language
c. the novelistic hybrid is an artistically organized system for
bringing different languages in contact with one another.
2. the dialogized interrelation of languages
a. stylization: an artistic representation of
another's linguistic style, an artistic image of another's language.
Two individualized linguistic consciousness must be present in it:
the one that represents (that is, the linguistic consciousness of
the stylizer) and the one that is represented, which is stylized.
b. stylization and parody－the
most varied forms for languages to mutually illuminate each other
and for direct hybrids, forms that are themselves determined by the
most varied interactions among languages
－the
most varied wills to language and to speech, that encounter one
another within the limits of a single utterance
c. dialogue in the novel is dialogue of a special sort
d. novel dialogue is determined by the very
socio-ideological evolution of language and society.
e. dialogue of language and dialogue of social forces－co-existence
and becoming
3. pure languages－subordinated
to the same task of creating images of language the process of
coming to know one's own language as it is perceived in someone
else's language, coming to know one's own belief system in someone's
system
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II.
Novelness
A. conception of language－rooted
in his epistemology. (Holquist ,72); a form of
knowledge that can put different order of experience
B. a means for charting changes that have come about as a result of
increasing sensitivity to the problem of non-identity
(Holquist ,72)
C. hero; the awareness of otherness (Holquist 73); knowing the
constitution is always incomplete and ineluctably
(Holquist, 106)
D. novelness in the history of consciousness
1. history is treated as a kind of Bildungsroman; the
ontogenetic growth of individual people from birth to maturity as a
phylogenetic pattern for all human beings over the whole course of
time; a kind of collective biography from prehistory to the present
2. the development of consciousness in the specific form of
self-consciousness
E. “consciousness itself can arise and become a living fact only in
the material embodiment of signs” (Bakhtin, Marxism and the
Philosophy of language, p. 11) (Dialogism , 80) “learning to
talk” is really learning to think
F. language acquisition as intertextuality
1. sign and meaning (Holquist, 82)
2. relation of language to life－self
and otherness－timeàopen
and unfinished opposite to closed and finalizable; novelness is the
body of utterances that is least reductive of variety (Holquist, 84)
3. the difference between perceiving the world by textualizing it
into an utterance in everyday speech and authoring a literary text－we
give order to the world every time we talk
G. intertextuality and novelness
“to other texts which can be discerned within the internal
composition of a specific individual text [whereas] we intend the
concept of inter-textuality to refer to the social organization of
the relations between texts within specific conditions or reading
(Holquist, 88)
H. Frankenstein
1. novel of change
2. the relation between the creator and the monster
3. the quest of finding the meaning of one's existence; the problem
of identity;
self-awareness
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III.
Double-voiced discourse
discourse: language in its concrete living totality.
A. three types of discourse (Bakhtin Reader, 102 and 110-111)
1. direct discourse:
a. orientated entirely towards the object or topic it refers to;
function: to name, inform, express
b. authorial discourse
2. objectified or represented discourse (discourse of a represented
person)
a. character speech is also referentially orientated but
stylistically it is subordinated to authorial discourse
b. as the object of authorial understanding
3. discourse with an orientation toward someone else's discourse
double-voiced discourse)
a. stylization and non-authorial forms of narration
b. parody and irony
c. outside the authorial discourse but is the object of a hidden
polemic
inflecting the authorial voice
B. how single voiced becomes double voiced
1. An author can also take someone else's direct discourse and
infuse it with anthorial intentions and consciousness while still
retaining the original speaker's intention. It then becomes
double-voiced. (Bakhtin Reader, 102)
2. Someone else's words introduced into our own speech inevitably
assume a new(our own) interpretation and become subject to our
evaluation of them.(Bakhtin Reader,106)
C. the importance－these
discoursive types and varieties among the basic compositional
elements of a given work
D. the struggle of the voices
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VI. Issues to discuss
1. What does “discourse” mean in Bakhtin's theory? Does it
include the concept of value, meaning of existence and so forth?
2. What is the relation between the voices of the author and the
character? Can they become one voice?
3. What is the relation between literature and life? (See Dialogism,
P85) Can they perceive as two voices?
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