Practice/fanart piece - inspired by Bakhtin's "Целовала" music video.
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Practice/fanart piece - inspired by Bakhtin's "Целовала" music video.

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𝑳𝒊𝒕𝒆𝒓𝒂𝒓𝒚 𝑵𝒐𝒎𝒂𝒅𝒔: "𝑳𝒆 𝑮𝒖𝒊𝒏 𝑷𝒕. 4 - 𝑻𝒉𝒆 𝑶𝒏𝒆𝒔 𝑾𝒉𝒐 𝑺𝒕𝒂𝒚: 𝑵. 𝑲. 𝑱𝒆𝒎𝒊𝒔𝒊𝒏" -
Can we pull this utopia dilemma together? Or will we add even more levels of complication? When we wrestle with Le Guin, take solace knowing that others have, too, and so we enter into the dialogue of building utopia, together with its responsibilities!
As we explore today, we add Mikhail Bakhtin and George Bataille into the mix together with writers Sadoeuphemist and N. K. Jemisin!
the carnivalesque and Ghost pt 1 of ???
"[The gaping mouth] is, of course, related to the lower stratum; it is the open gate leading downward into the bodily underworld. The gaping mouth is related to the image of swallowing, this most ancient symbol of death and destruction."' (p. 325)
"The medieval public centered its curiosity on [the gaping jaws], expecting the most amusing and comic protagonists to emerge from them." (p. 348)
There is neither a first word nor a last word and there are no limits to the dialogical context (it extends into the boundless past and into the boundless future). Even past meanings, that is, those born in the dialogue of past centuries, can never be stable (finalized, ended once and for all). . . . Nothing is absolutely dead: every meaning will have its homecoming festival. The problem of great time” (Bakhtin, 1986, 170)
Bakhtin smoking the only version of his manuscript, he is so
Lana del Rey vinyl
Context: on Bakhtin's writing on the novel, Deneith, Simon. "Bakhtin on the Novel." Bakhtinian Thought: an Introductory Reader. 3rd edition

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The world of culture and literature is essentially as boundless as the universe. We are speaking not about its geographical breadth (this is limited), but about its semantic depths, which are as bottomless as the depths of matter. The infinite diversity of interpretations, images, figurative semantic combinations, materials and their interpretations, and so forth. We have narrowed it terribly by selecting and by modernizing what has been selected. We impoverish the past and do not enrich ourselves. We are suffocating in the captivity of narrow and homogeneous interpretations.
Mikhail Bakhtin, From Notes Made in 1970-71
Mikhail Bulgakov's novel, 'The Master and Margarita', can be regarded as a highly original literary illustration of Bakhtin's theory of the carnivalesque novel. ... The appearance of Woland in Moscow and the subsequent immersion of the Soviet capital in 'mirthful time and space' evoke death, injury, madness and destruction on a scale unknown in Goethe, but these events are meant to be perceived comically, since the victims are the representatives of human banality and vulgarity. ... this terror of carnival surpasses and paralyzes the usual and 'monologic' terror of the NKVD...
Nietzsche's Influence on the Non-Official Culture of the 1930s, Boris Groys
Bakhtin often refers to the participants in a dialogic conception of truth as ‘voice-ideas’. By this phrase he has in mind a unity of idea and personality: the idea represents a person’s integral point of view on the world, which cannot be abstracted from the person voicing it. Conversely, the person who holds the idea becomes a full personality by virtue of that idea, the idea is not just something he happens to believe, but is an essential shaping force throughout his life. Such ideas are, as Dostoevsky observed, ‘felt’. When two such voice-ideas come to interact, they may produce a dialogue changing both of them and giving rise to new insights and new dialogues. The ‘unity’ of truth becomes the unified ‘feel’ of a conversation, not the unity of a single proposition, however complex, that may result from it. When monologic thinkers encounter such conversations, they try to extract just such a finalising proposition, but in doing so they are false to the dialogic process itself.
CARYL EMERSON and GARY SAUL MORSON, ‘Polyphony: Authoring a Hero’ from Mikhail Bakhtin: Creation of a Prosaics