By Karen Hohne, Helen Wussow
A discussion of Voices was first released in 1994. Minnesota Archive variants makes use of electronic know-how to make long-unavailable books once more available, and are released unaltered from the unique college of Minnesota Press editions.
The paintings of the Russian theorist Mikhail Bakhtin, rather his notions of dialogics and style, has had a considerable influence on modern serious practices. in the past, in spite of the fact that, little recognition has been paid to the probabilities and demanding situations Bakhtin provides to feminist conception, the duty taken up in A discussion of Voices. the unique essays during this booklet mix feminism and Bakhtin in special methods and, through reading texts via those lenses, arrive at new theoretical ways. jointly, those essays element to a brand new path for feminist conception that originates in Bakhtin-one that will bring about a female être instead of a female écriture.
targeting feminist theorists resembling Hélène Cixous, Teresa de Lauretis, Julia Kristeva, and Monique Wittig along with Bakhtin's strategies of dialogism, heteroglossia, and chronotope, the authors provide shut readings of texts from a variety of multicultural genres, together with nature writing, sermon composition, nineteenth-century British women's fiction, the modern romance novel, Irish and French lyric poetry, and Latin American movie. the result's a special discussion within which authors of either sexes, from a number of international locations and various eras, communicate opposed to, for, and with each other in ways in which show their works anew in addition to the serious matrices surrounding them.
Karen Hohne is an self reliant pupil and artist residing in Moorhead, Minnesota. Helen Wussow is an assistant professor of English at Memphis kingdom University.
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Additional resources for A Dialogue of Voices: Feminist Literary Theory and Bakhtin
In the introduction to a subsequent collection of essays, Feminism, Bakhtin, and the Dialogic, ed. Dale M. Bauer and Susan Jaret McKinstry (Albany: State University of New York Press, 1991), Bauer and McKinstry offer various (often negative) definitions of a feminist dialogics: "Dialogic consciousness or standpoint depends neither on essentialism nor truth, but on context and condition. A feminist dialogics is not just agonistic or oppositional; it also suggests an identity in dialectic response, always open and ongoing" (3).
The source of fear in Bakhtin's discussion of the womb is neither woman per se, nor the maternal, nor the supposed mysterious power of pregnancy. Carnival functions, according to Bakhtin, precisely to place the body, male and female, on demystifying display: there can be, as I quoted earlier, "nothing frightening" in it (Rabelais, 91). If the womb is "the earthly element of terror" in Bakhtin's account, it is not because, as Cixous writes, "it has always been suspected that, when pregnant, the woman .
Bakhtin distances Rabelais from the tradition of medieval religious 22 Elizabeth Butler Cullingford misogyny and presents him as adhering to the comic, folk view of woman: The popular tradition is in no way hostile to woman and does not approach her negatively. In this tradition woman is essentially related to the material bodily lower stratum; she is the incarnation of this stratum that degrades and regenerates simultaneously. She is ambivalent. She debases, brings down to earth, lends a bodily substance to things, and destroys; but, first of all, she is the principle that gives birth.
A Dialogue of Voices: Feminist Literary Theory and Bakhtin by Karen Hohne, Helen Wussow