By Karen Hohne, Helen Wussow
A discussion of Voices was first released in 1994. Minnesota Archive variants makes use of electronic expertise to make long-unavailable books once more available, and are released unaltered from the unique college of Minnesota Press editions.
The paintings of the Russian theorist Mikhail Bakhtin, really his notions of dialogics and style, has had a considerable impression on modern serious practices. in the past, even if, little awareness has been paid to the probabilities and demanding situations Bakhtin offers to feminist conception, the duty taken up in A discussion of Voices. the unique essays during this ebook mix feminism and Bakhtin in exact methods and, via reading texts via those lenses, arrive at new theoretical methods. jointly, those essays aspect to a brand new path for feminist conception that originates in Bakhtin-one that will result in a female être instead of a female écriture.
concentrating on feminist theorists resembling Hélène Cixous, Teresa de Lauretis, Julia Kristeva, and Monique Wittig along with Bakhtin's ideas of dialogism, heteroglossia, and chronotope, the authors provide shut readings of texts from a variety of multicultural genres, together with nature writing, sermon composition, nineteenth-century British women's fiction, the modern romance novel, Irish and French lyric poetry, and Latin American movie. the result's a distinct discussion within which authors of either sexes, from a number of nations and assorted eras, converse opposed to, for, and with each other in ways in which exhibit their works anew in addition to the severe matrices surrounding them.
Karen Hohne is an self reliant student and artist dwelling in Moorhead, Minnesota. Helen Wussow is an assistant professor of English at Memphis kingdom University.
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Extra resources for A Dialogue of Voices: Feminist Literary Theory and Bakhtin
They are "the epitome of incompleteness," as Bakhtin says. They celebrate life in its extreme intermediacy, in the fullness of its indetermination. Russo herself makes this very point, hesitantly, when she reminds us that "Bakhtin's description of these ancient crones is at least exuberant" (Russo, 219). " (Russo, 227). In my reading of the passage, the question has not only occurred to him, he has already answered it. Their laughter is the "popular corrective" that prevents us from taking them too seriously.
If the "false theater of phallocentric representationalism" has staged a drama of exclusion, the new wave of women's writing offers in its place a drama of limitless containment. "The Locus for the Other" 9 The elements of "The Laugh of the Medusa" that prove most troubling from a Bakhtinian perspective all reflect a look inward, an endless return to the self. This is neither surprising nor necessarily lamentable. The project of women's writing is a retrieval of feminine identity: it is, therefore, a project of self-knowledge, se/^-awareness, and self-expression.
It is small comfort that Cixous anticipates precisely the point I am raising: "Once more you'll say that all this smacks of 'idealism,' or what's worse you'll splutter that I'm a 'mystic' " (262). There is no question that her description of feminine ecriture idealizes and mystifies the practice of writing, albeit in an idiom distinct from those against which she is struggling. For Bakhtin, however, it is not enough to demystify the monologic language of authority, if one merely sets another type of myth or monologue in its place.
A Dialogue of Voices: Feminist Literary Theory and Bakhtin by Karen Hohne, Helen Wussow