Discourse in the Novel¶
Bakhtin, M. M. (1981). Discourse in the Novel. The Dialogic Imagination: Four Essays.
Cited by¶
1 citation across 1 artifact.
Each citation links to the sentence it supports in the citing article.
Domain-specific¶
- Heteroglossia
- Three elements are jointly required: the voices must be distinct (recognisable social-linguistic positions, not mere stylistic variation); they must be copresent within the same discourse rather than sequentially arranged as in an anthology; and they must be dialogically interanimating — each voice's meaning is partly constituted by its differential relation to the others, so that a character's reported speech, for instance, carries both the character's social horizon and the narrator's framing of it, producing what Bakhtin calls a hybrid construction or double-voiced word.
This sourceThe essay's contrast between the novel's heteroglossia and the unitary, monologic language of the poetic genres. The essay's extended analysis of Dickens's Little Dorrit as the worked case of double-voiced, hybrid authorial discourse.
Supported in partVerified against a saved copy of the source
“serving to express authorial intentions but in a refracted way”
- Three elements are jointly required: the voices must be distinct (recognisable social-linguistic positions, not mere stylistic variation); they must be copresent within the same discourse rather than sequentially arranged as in an anthology; and they must be dialogically interanimating — each voice's meaning is partly constituted by its differential relation to the others, so that a character's reported speech, for instance, carries both the character's social horizon and the narrator's framing of it, producing what Bakhtin calls a hybrid construction or double-voiced word.
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