Critical Inquiry’s Forum on Mikhail Bakhtin [Critical Inquiry 10 : 225-319] is the latest contribution to the spectacular effort of interpretation and assimilation that is being applied to the work of this recently recovered critic. In such a situation, analysis proceeds with one eye on the work in question and the other on current debates in the field; in the case of Bakhtin, interpretation is at the same time an attempt to come to grips with challenges posed by recent literary (...) theory to certain axiomatic critical assumptions about intentionality, textuality, and the human subject. But the matter is also complicated by the fact that we are dealing here with a critic who was active in the USSR. This brings into play additional ideological pressures, generated by the cold war, which bear on the scholarly assimilation of his work.The debate on Bakhtin is made yet more difficult by the nature of his writing: immensely varied stylistically and topically but also—and more importantly, I believe—writing which strives for solutions it cannot quite articulate. It moves between alternative and contradictory formulations in a single essay and thus produces a set of concepts whose explanatory importance is matched by an unnerving tendency to slide from one formulation to the next with disturbing ease. Such ambiguities are not the sign of an open and skeptical mind, but neither are they mere inconsistencies which can be safely ignored. These internal contradictions dictate that argument over concepts like “dialogism” and “heteroglossia” cannot be settled by a definitive decision as to what they ‘really’ mean; instead, we must discuss how to manage these complexities and contradictions, and to what ends. Certain definite strategies of management are emerging, and the articles presented in the forum, while by no means reducible to a single position, share key lines of interpretive strategy that I think ought to be brought out into the open and contested. With the notable exception of Susan Stewart’s article [“Shouts on the Street: Bakhtin’s Anti-Linguistics,” pp. 265-81], the contributions share an ideological drift, the ultimate effect of which is to evade the most radical aspects of Bakhtin’s work in favor of an interpretation that renders him useful in the argument against the recent advances of post-structuralism and recent literary theory in general. Ken Hirschkop is a postgraduate student at Saint Antony’s College, Oxford University, working on a book about Mikhail Bakhtin. (shrink)

From the very beginning, it has been difficult to extract a smooth narrative from the complex plot of Bakhtin’s life and work. Early attempts to do this proposed an unconvincing distinction between a private philosophical Bakhtin and the man who wrote compelling and innovative work on the philosophy of language, the stylistics of the novel, and the culture of carnival. The 7-volume Sobranie sočinenij (1996–2012) both frustrates and supports this simplifying narrative. The texts it presents, many radically different from earlier (...) published versions, suggest that Bakhtin’s commitment to the stylistics of the novel was permanent and enduring and that its sociological colouring was more than strategic. The notes and commentary, however, seek to corral the energy of the material, by persistently interpreting Bakhtin’s works as separable into philosophical kernels and sociological/stylistic shells. (shrink)

A study of the many 'linguistic turns' pursued by European writers between 1890 and 1950, focusing on the links between language, politics, and philosophy. Exploring the work of Saussure, Russell, Wittgenstein, Bakhtin, and others, it provides a new account of the intellectual and cultural history of early twentieth-century Europe.

In this introduction to Mikhail Bakhtin, Ken Hirschkop presents a compact, readable, detailed, and sophisticated exposition of all of Bakhtin's important works. Using the most up-to-date sources and the new, scholarly editions of Bakhtin's texts, Hirschkop explains Bakhtin's influential ideas, demonstrates their relevance and usefulness for literary and cultural analysis, and sets them in their historical context. In clear and concise language, Hirschkop shows how Bakhtin's ideas have changed the way we understand language and literary texts. Authoritative and accessible, this (...) Cambridge Introduction is the most comprehensive and reliable account of Bakhtin and his work yet available. (shrink)