By Daphna Erdinast-Vulcan
This can be an unique studying of Mikhail Bakhtin within the context of Western philosophical traditions and counter-traditions. The e-book portrays Bakhtin as a Modernist philosopher torn among an ideological secularity and a profound spiritual sensibility, normally enthusiastic about questions of ethics and impelled to show from philosophy to literature as in a different way of knowing.
Most significant experiences of Bakhtin spotlight the fragmented and it seems that discontinuous nature of his paintings. Erdinast-Vulcan emphasizes, as a substitute, the underlying coherence of the Bakhtinian venture, analyzing its inherent ambivalences as an intersection of philosophical, literary, and mental insights into the dynamics of embodied subjectivity. Bakhtin's flip to literature and poetry, in addition to the dissatisfactions that encouraged it, align him with 3 different "exilic" Continental philosophers who have been his contemporaries: Bergson, Merleau-Ponty, and Levinas. Adopting Bakhtin's personal open-ended method of the human sciences, the booklet phases a sequence of philosophical encounters among those thinkers, highlighting their respective itineraries and impasses, and producing a Bakhtinian synergy of rules.
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Additional resources for Between Philosophy and Literature: Bakhtin and the Question of the Subject
He recognizes that it is owing to the self-awareness peculiar to man that the individual with his bodily frame feels himself and is felt by others to be a person; but he smiles at the naïve idea that places an ego at the back of that psychic phenomenon, as a solid and concrete thing that remains constant in spite of the changes of life from birth to death. (9–10) However, for all his historicist sensibility and his nod toward skepticism, Misch is still very much the Enlightenment scholar in his insistence on the ultimate possibility of self-knowledge and the “truth” that emerges from the “creative objectification of the autobiographer’s mind” (12).
Most poignantly, Kristeva’s celebration of Dostoyevsky’s polyphonic Copernican revolution may sound rather hollow when we learn that Bakhtin saw his book on Dostoyevsky as “morally flawed,” because it could not openly deal with “the main questions . . what Dostoevsky agonized about all his life—the existence of God” (Bocharov, “Conversations with Bakhtin,” 1013). Bakhtin’s equivocation is not unlike the metaphysical ache of Dostoyevsky himself, whose work, even at its most “polyphonic,” is energized by the tensile relationship between the persistent desire for grounding and the radically secular, ideologically centrifugal mode.
Rhythm becomes “a distortion and a lie,” however, when we operate in the ethical 3 8 HOM E S I CK NES S , BORDERLI NES , A ND CONT RABAND odality, Bakhtin says, because the moment of ethical choice and action m is one of “fundamental and essential dissonance,” a moment that “does not submit to rhythm—it is in principle extrarhythmic, nonadequate to rhythm”; “a moment where that which is in me must overcome itself for the sake of that which ought to be . . where is and ought mutually exclude each other” (118).