bakhtin essays and dialogues on his work | Download …

In the work, which was written over the course of 25 years, Bresson addresses several themes using his idea of the "cinematograph"--the enemy of "cinema" or "filmed theater." At times, he writes as if to become lyrical and almost obscure, while elsewhere, he gives precise reasons for the visions that were soon to be transformed into film.

Get this from a library! Bakhtin, essays and dialogues on his work. [Gary Saul Morson;]

This increased interest by younger intellectuals resulted in a demand for publication of other works by Bakhtin, bringing about a revised version of the Dostoevsky book in 1963 and the first printing of his dissertation on Rabelais in 1965.At this time of rising acclaim, Bakhtin continued to publish, but once again ill health limited his activities.

Bakhtin Essays And Dialogues On His Work

This work, which was expanded and published in 1965 as  stands alongside  as one of Bakhtin's most important writings.

Humbert Balsan discusses his experiences working with Bresson as an actor in Lancelot du lac (1974) and as an assistant director on Le Diable probablement (1977).

Heteroglossia and Literary Criticism | Jacquelyn …

Continuing this line of reasoning, Bakhtin both asserts heteroglossia as a foundational truth and promotes its exploitation in writing. This is approach I used in my dissertation as well. Bakhtin finds an exemplary version of heteroglossic literature in the novels of Fyodor Dostoevsky. This author created what Bakhtin terms a new c or form. The various points of view which arise in a novel, within or between characters, are presented and utilized, but not hierarchically ordered. The invention of a unique self in art, of a central trope comes about through antithetical struggle, as I have repeatedly asserted, hence I am frequently tempted to use the term when describing it. However, this term suggests very ordered conflicts between simple pairs of contradictions, which then result in clear syntheses. The formation of artistic tropes, and creative thought in general, I find accurately described in Bakhtin’s terms. An artistic trope is dialogically forged and used. It revels in the interplay of equivocal, interlocked meanings. There are multiple theses and antitheses yielding no synthesis, but rather the opportunity for even more conflict. Such struggle is subversive and liberating. Similar to Bakhtin, I define my theory as being fundamentally true of the arts, and yet I am also propagandizing for its more conscious and proficient application.

Martin Buber assigns dialogue a pivotal position in his theology

Bresson discusses several topics, including the difference between films that are simply photographed theater and true cinema, which must be absolutely free of all theatrical expression; cinema as the most appropriate art for expressing character; cinema's potential as a viable way to carry out psychological investigation; the problem of responsibility for the work of art in cinema, where the work is done in a team; and his opinion of Japanese cinema." [Art Index]

His most influential work is titled I and Thou

Nevertheless, he believes, heteroglossia is generally suppressed, if unsuccessfully, in order for those in power to feel comfortable in their attempts to control others. Bakhtin supplies us with an artistic version of the philosophical necessity of accepting belief in the existence of other minds. Artists’ works interweave multiple social points of view as well as being individual expressions. Likewise, a specific artistic trope is only possible within the confines of the time and place where it is created, thus it reflects the cultural and temporal dependency of all tropes, even Lakoff’s so-called foundational metaphors, at least in their concrete manifestations. My theory of metaphor(m) must too, then, be framed by context. Yet I see this frame like the walls of an arena. Within its confines lie the elements with which the thought-game can be played, both in and against the rules.