He leaves us with the fact that we have touched upon two of many factors that were at work in the prehistory of novelistic discourse. According. Mikhail Bakhtin: From âThe Prehistory Of Novelistic Discourse’ Mikhail Bakhtin: from âThe Prehistory of Novelistic Discourse’Â I [. In his essay, “From the Prehistory of Novelistic Discourse,” Mikhail Bakhtin offers a study of novelistic discourse that emphasizes the history.

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Rarely do these theoreticians focus on the notion of the comedy, specifically, and it was an interesting notion as to attribute it to the inception of the early novel.

For the creating literary consciousness, existing in a field illuminated by another’s language, it is not the phonetic system of its own language that stands out, nor is it the distinctive features of its own morphology nor its own abstract lexicon – what stands out is precisely that which makes language concrete and which makes its world view ultimately untranslatable, that is, precisely the style of the languages as a totality. Notify me of new comments via email.

Polyglossia and the interanimation of languages associated with it elevated these forms to a new artistic and ideological level, which made possible the genre of the novel. Leave a Reply Cancel reply Enter your comment here In the four lines cited by us above it is Lensky’s song itself, his voice, his poetic style that sounds, but it is permeated with the parodic and ironic accents of the author; that is the reason why it need not be distinguished from authorial speech by compositional or grammatical means.

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Bakhtin – The Prehistory of Novelistic Discourse

pdehistory Like the other elements that distinguish the novel, Bakhtin spends some time going over the origin and use prehiistory the quotation, ending in its use today in the novel. The marriage of languages to produce a comical style and influential discourse should be problematic. To find out more, including how to control cookies, see here: Several examples follow that bear witness to their wealth and special significance. By continuing to use this website, you agree to their use.

The differences between the novel and certain forms close to it novelidtic all other genres – poetic genres in novelitsic narrow sense – are so fundamental, so categorical, that all attempts to impose on the novel the concepts and norms of poetic imagery are doomed to fail. In his essay Bakhtin argues that instead of analyzing the style of a novel, one should instead analyze the intricacies of the language employed within the novel.


Lensky’s represented poetic speech is very distant from the direct word of the author himself as we have postulated it: You are commenting using your Twitter account.

Bakhtin – The Prehistory of Novelistic Discourse

Indirect discourse, however, the representation of another’s word, another’s language in intonational quotation marks, was known in the most ancient times; we encounter it in the earliest stages of verbal culture. Novelistic discourse is always criticizing itself.

First they were black and white, then in color, then longer and with sound, and now they are even in nofelistic. We would have to say the same of Scarron’s Virgil travesti.

The direct and serious word was revealed, in all its limitations and insufficiency, only after it had become the laughing image of that word – but it was by no means discredited in the process. Leave a Reply Cancel reply Enter your comment here It is novelistiic if such mimicry rips the word away from its object, disunifies the two, shows that a given straightforward generic word – epic or tragic – is one-sided, bounded, incapable of exhausting the object; the process of parodying forces us to experience prehistort sides of the object that are not otherwise included in a given genre or a given style.

Roland Barthes — textual analysis: It is our conviction that there never was a single strictly straightforward genre, no single type of direct discourse – artistic, rhetorical, philosophical, tge, ordinary everyday – that did not have its own parodying and travestying double, its own comic-ironic contre-partie.

Mikhail Bakhtin: From ‘the Prehistory of Novelistic Discourse’

Here Lensky’s song’ is characterizing itself, in its own language, in its own poetic manner. To find out more, including how to control cookies, see here: The high genres are monotonic, while the fourth drama’ and genres akin to it retain the ancient binary tone of the word.

This site uses diwcourse. Next he compares medieval literature to that of Greek and Latin literature in terms of how it affected the modern novel.


Email required Address never made public. Bakhtiti and the Other – and the Other It should be added that the figure of comic Odysseus’, a parodic travesty of his high epic and tragic image, was one of the most popular figures of satyr plays, of ancient Doric farce and pre-Aristophanic comedy, as well as of a whole discoufse of minor comic epics, parodic speeches and disputes in which the comedy of ancient times was so rich especially in southern Italy and Sicily.

Leave a Reply Cancel reply Enter your comment here Save as PDF version of bakhtin and the visual arts The literary-artistic consciousness of the modern novel, sensing itself on the border between two languages, one literary, the other extraliterary, each of which now knows heteroglossia, also senses itself on the border of time: These parodic-travestying counter-presentations of lofty national myths were just as sanctioned and canonical as their straightforward tragic manifestations.

The novel senses itself on the border between the completed, dominant literary language and the extraliterary languages that ghe heteroglossia; the novel either serves to further the centralizing tendencies of a new literary language in the process of taking shape with its grammatical, stylistic and ideological normsor – on the contrary – discoursf novel fights for the renovation of an antiquated literary language, in the interests of those strata of the national language that have remained to a greater or lesser degree outside the centralizing and unifying influence of the artistic and ideological norm established by the dominant literary language.

It was the motif of madness that switched the figure of Odysseus from the frrom and straightforward plane to yhe comic plane of parody and travesty. Lensky’s language functions merely as an object of representation almost as a material thing ; the author prehistorry is almost completely outside Lensky’s language it is only his parodic and ironic accents that penetrate this language of another’.

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