Podcasts about Mikhail Bakhtin

On today's show, Alex and Calvin – briefly rebranded as Kenneth Jerke and Mikhail Shocktin, co-hosts of "Shock Docs" – explore the state of rhetorical manipulation in the context of the second Trump presidency. We discuss the general ineptitude of the conservative movement occupying the White House and the unsettling lack of a powerful counter-rhetoric in the Democratic opposition, before turning to analyze Trump's tariff policy. We discuss how the tariff conversation is a particularly baffling current example in which raw power seems to be operating without legitimation through traditional rhetorical norms.Applying a Critical Discourse Studies lens to understand this moment, we revisit concepts like dialogicality from Mikhail Bakhtin, explaining how discourse can be evaluated based on whether it opens up difference (ie. to what extent it is dialogical) or suppresses difference. We introduce assumptions analysis from Norman Fairclough, which examines what a writer/speaker takes for granted as truth (existential, propositional, and values assumptions) and assumptions can reduce dialogical space for manipulative purposes. As a case study, we analyze an article by left-punching journalist Batya Ungar Sargon titled "Liberation Day puts Main Street ahead of Wall Street" (published in Commonplace). We analyze the ways that Ungar Sargon's manipulative assumptions reframe Trump's tariffs as beneficial for the American worker by ignoring corporate interests and tax policy, misrepresenting political history, and erasing important debates over national security and border policy issues. We conclude with a reminder that it's always better to be a Mikhail Shocktin than a Kenneth Jerke. Texts Analyzed in this EpisodeBatya Ungar Sargon - “Liberation Day puts main street ahead of Wall Street” (published in Commonplace)Works Referenced in this EpisodeFairclough, N. (2003). Analysing discourse (Vol. 270). London: Routledge.Relevant Past EpisodesDiscourse and Manipulation, Pt. 3Discourse and Manipulation, Pt. 2Discourse and Manipulation, Pt. 1re:blurb - Conceptual Metaphorre:blurb - Dialogicalityre:blurb - IdeographsAn accessible transcript of this episode can be found here (via Descript)Episode Image Description: Top text: "re:verb"; Left-center image includes a picture of Critical Discourse scholar Norman Fairclough with a laser beam shooting out of his left eye towards right center image; Right-center image is offset, includes a screenshot of an article titled "Liberation Day Puts Main Street Ahead of Wall Street"; Bottom text: "Discourse & Manipulation pt. 4 - The Economic Assumptions of "Liberation Day""

Send us a textHumour can have real revolutionary force! Ask the philosopher Mikhail Bakhtin. Let's keep laughing at the powerful. It will work! 

No ano em que cada mês parece ter 3000 dias, chegou o carnaval. Exceto nos lugares que já têm blocos e festas desde a virada do ano. Quem sou eu para julgar? Esse é o assunto de hoje, mas antes…Recadinhos➡ Estou publicando cris dicas em geral — mas normalmente livros — no meu canal do Instagram e no site crisdicas.com.br. Algumas indicações podem ter link de afiliados para eu ganhar uma comissão, mas todas são sinceras.➡ Não se esquece do nosso Discord, o melhor canto da Internet. O mais novo canal é o #comidinhas, onde o Robinho Bravo meio que ressuscitou o Coisas da Rua e todo mundo dá dicas de restaurantes e receitas.➡ Amanhã começa a nova fase do Clube de Cultura do Boa Noite Internet, com o livro Nação Dopamina.➡ Depois do carnaval, vou abrir a nova turma do Apresentashow, meu curso ao vivo que vai te ensinar a fazer apresentações no trabalho que são um espetáculo. Já deixa seu e-mail na lista de espera para ficar sabendo antes de todo mundo. Como sempre faço, vou dar sessões de mentoria grátis para as primeiras 10 pessoas que se matricularem.O Boa Noite Internet é uma publicação apoiada pelos leitores. Para receber novos posts e apoiar meu trabalho, cadastre-se em uma assinatura gratuita ou paga.Qual vai ser sua fantasia de carnaval?Quando eu era criança, eu tinha uma boa relação com o carnaval — tirando a parte de que meu aniversário muitas vezes era “atrapalhado” pela data. Porque… né? Carnaval! Verão, música, todo mundo alegre. Tentar ficar acordado para ver os desfiles na Globo, ser mandado pro quarto quando começavam as transmissões dos bailes de clube. Ir nas versões infantis destes bailes fantasiado de policial americano. Fora que a semana de carnaval era mais uma desculpa para ir encontrar a primalhada em Miguel Pereira e só curtir a vida mágica dos anos 1970 e 80.Na adolescência, me achei O Inteligentão quando entendi a conexão entre carnaval e quaresma. Não era a páscoa que vinha 40 dias depois do carnaval, mas o carnaval que acontecia 40 dias antes da páscoa. A festa era a despedida dos prazeres antes do período de abstinência radical. Foi assim que virei o adolescente chato que dizia: “Sabia que o carnaval é uma festa religiosa?” Já sou palestrinha desde cedo, como vocês podem ver.Até que, não tem tanto tempo assim, entendi que o carnaval não é só uma despedida da farra antes do jejum, é mais que a famosa “festa de Baco”. É um momento em que estamos autorizados a experimentar identidades diferentes das dos outros 360 dias do ano. De deixar de “ser” para somente “estar”.Sempre me chamou a atenção a contradição de o mesmo homem que seria considerado menos masculino (a maior desgraça possível na nossa sociedade) por usar uma camiseta rosa no trabalho poder sair de Sabrina Sato completa no bloco e ninguém questionar. Na quarta-feira, a fantasia volta para o armário (ou direto pro lixo), assim como a mudança. O que aconteceu no carnaval, acaba no carnaval.Ou uma pessoa com quem me relacionei no século passado, que hoje entendo que era uma das figuras mais conservadoras que já conheci. Mas que contava com orgulho como adorava sair em trio elétrico cheirando loló e competindo com as amigas pra ver quem beijava mais. E tudo bem, não havia conflito nem hipocrisia. É só carnaval.O carnaval não é só a festa da bebida ou da pegação — mas se quiser, pode. É o festival do “viva outras vidas”, materializado nas fantasias, só que muito mais do que “eu sou o Superomi”.Essa ideia de troca de papéis é antiga. Em Roma, séculos antes de Cristo, a Saturnália já promovia uma inversão social temporária. Durante esta festa, celebrada no solstício de inverno (a época do Natal, que também foi influenciado pelo festival de Saturno), os romanos suspendiam as regras da sociedade. Escravos e senhores trocavam de lugar — não só simbolicamente, mas em aspectos práticos da vida. Os escravos podiam comer à mesa com seus senhores, vestir suas roupas, falar sem restrições e até dar ordens. Os senhores os serviam. Lojas, escolas e tribunais fechavam. Guerras eram interrompidas.Os romanos usavam o pileus — um chapéu cônico que simbolizava a liberdade — e trocavam presentes simples como velas e pequenas estatuetas. As ruas se enchiam, a cidade inteira se entregava a banquetes, bebedeiras e jogos de azar, normalmente restritos. Um “rei da folia” era escolhido por sorteio para presidir o caos festivo.Quando o cristianismo virou a religião oficial do império, a igreja tentou substituir essas festas pagãs por celebrações em nome de Jesus, mas o espírito de inversão social já estava enraizado na cultura. Assim, o desejo humano de escapar temporariamente das regras encontrou novos caminhos, novos nomes e novas datas no calendário, mesmo na própria estrutura eclesiástica. Na Europa medieval, a mais famosa destas festas foi a festum fatuorum, a “Festa dos Tolos”, celebrada por clérigos em igrejas da França. Durante um dia, os padres de menor hierarquia zombavam de seus superiores, escolhiam um “Bispo dos Tolos” e realizavam paródias de cerimônias religiosas. Não só o sagrado virava profano, o sério se transformava em cômico.Existia também a Festa do Asno (festum asinorum, porque tudo fica mais católico em latim), onde um burrico era levado para dentro da igreja e celebrado como figura central, em homenagem ao corajoso animal que carregou a Sagrada Família na fuga para o Egito. Ao final da missa, em vez de dizer “vão em paz”, o padre zurrava três vezes, e o público respondia também com zurros no lugar do tradicional “amém”. A Igreja acabou proibindo as duas celebrações nos anos 1400, mas a ideia de um período de licença social não desapareceu.O nosso Rei Momo é a personificação moderna desta tradição de troca-troca. Ele não é o rei de verdade, mas por quatro dias recebe as chaves da cidade e instala seu reinado temporário. A confusão começa, a ordem é invertida, a zoeira impera. A origem do personagem está em Momo, deus grego da zombaria e do sarcasmo, o primeiro sarcasticuzão, sempre pronto pra apontar defeitos, mesmo nos outros deuses — que levou, ora ora, à sua expulsão do Olimpo. Quando a figura chegou ao Brasil no século 19, a ideia era coroar um homem gordo, bonachão, comilão e beberrão para simbolizar os excessos permitidos naqueles dias. É o anti-rei perfeito, que governa não pela austeridade, mas pela permissividade. A escolha do Momo carioca é evento oficial da prefeitura.E tem que ser. A coroação do Rei Momo é um ritual carregado de significado. O prefeito entrega as chaves da cidade ao rei da folia, numa encenação que diz algo como: “O poder real fica suspenso. Agora quem manda é a festa.”Em um mundo cada vez mais centrado na identidade, o carnaval é a hora de ser quem você não é, em uma sociedade que, ali, não funciona mais nas regras anteriores. Mas nem todo mundo se aproveita disso e fica preso nos seus personagens. É por isso que tenho uma leve implicância com um bloco de São Paulo que só toca “punk e rock pesado” (em ritmo de carnaval). Porque seus fundadores não querem ouvir essas “músicas chatas”, sejam elas marchinhas, sambas ou Ivete. Era pra ser inclusivo, achei só preconceituoso.Se o carnaval é o momento de dissolvermos nossas identidades para tentar outras experiências, toca Arerê sim, pô! Deixa os Ratos de Porão pro resto do ano. Mas tudo bem, sábado pularemos lá, porque carnaval também é estar com a nossa galera. Tenho até amigos que são roqueiros.Toda essa história de inversão da ordem se encaixa com o cristianismo ser considerado “a religião do perdão”. Jesus morreu pelos nossos pecados. Jesus existe para perdoar nossos pecados. E o carnaval é o maior perdão do ano. Enquanto aquela prefeita do Maranhão quer trocar o carnaval por um evento gospel (parece que vai rolar mesmo), dá para tentar ver o feriado não como uma contradição aos valores cristãos, mas seu complemento necessário. E se a reza ficasse pra, sei lá, pensando alto aqui, os 40 dias depois do carnaval? Desruptei agora, diz aí.Mas calma. Carnaval não é bagunça. É o famoso “se combinar direitinho…”, mas tem que combinar. Quando eu era um garoto juvenil, comecei a namorar uma menina poucas semanas antes do carnaval. Ela já estava com viagem marcada para a Região dos Lagos e, quando nos encontramos na quarta-feira, tinha um cara na porta da casa dela. Foi o primeiro “é meu primo” da minha carreira. Tudo bem, eu sobrevivi. Era só ter combinado.Então, apesar de todo esse papo de inversão, o carnaval também tem que ter muito respeito. Não é porque na quarta-feira tudo está perdoado que você vai beijar quem não quer ser beijado, ou abusar do espaço do amiguinho. Fantasia não é salvo-conduto. “Não é não” segue valendo. A inversão de papéis funciona ao haver consentimento de todas as partes envolvidas.O que me traz de volta ao cara que se veste de mulher no carnaval, mas não “vira gay” no resto do ano. A questão não é tão simples quanto parece. Ele pode se vestir de mulher, de indígena ou de qualquer fantasia sem consequências de longo prazo. A quarta-feira chega, ele volta ao terno, à vida normal, ao privilégio. O mesmo não acontece no sentido inverso, né? Eu fico aqui imaginando uma cena de carnaval onde um cara vestido de mulher é assediado por uma mulher vestida de homem.O carnaval é uma tentativa de quebra das relações de poder, mas essas relações continuam existindo, é claro. O cidadão romano sabe que não virou escravo para sempre. É só brincadeirinha. Idolatramos drag queens e pessoas trans por quatro dias para, logo depois, voltarmos a uma sociedade que as marginaliza. Vivemos no país que lidera o ranking de assassinatos de pessoas trans.Lá atrás, o carnaval era um jeito dos reis e papas dizerem “aproveitem aí, acreditem que vocês agora estão no poder”. Será que mudou? O negro vira estrela da TV, a mulher vira rainha (da bateria), o morador da comunidade é destaque do samba-enredo. Até mesmo o contraventor que financia a escola é aplaudido na avenida. Ali pode, depois volte para onde você veio, por favor.Se é assim, o carnaval é uma verdadeira quebra ou só uma válvula de escape que mantém tudo como sempre foi? O historiador russo Mikhail Bakhtin dizia que o riso e a festa podem ser subversivos, mas também podem servir para reforçar o sistema. A inversão temporária alivia as tensões sem ameaçar a estrutura. Se sabemos que tudo volta ao normal na quarta-feira, não há perigo real de mudança. A transgressão é permitida porque é passageira. Visto assim, o carnaval é uma festa de inversão de papéis e, por isso mesmo, um ritual de aceitação do resto do ano.Quem acompanhou o Clube de Cultura de “A crise da narração”, vai lembrar de Byung-Chul Han contando que antes da chegada do “storyselling” os feriados tinham função narrativa, contavam uma história coletiva. Hoje, viraram só mais uma data para o consumo, o próximo presente a ser comprado. Será que o carnaval é a última das festas que ainda carrega um significado, ou também virou só “vou beber muito”? Para mim, parte da resposta está em todos os “pré-carnavais” e “carnaval fora de época”. Não há calendário nem ritual, só uma balada temática.Mas esse não é o assunto de hoje. Só quero dizer o seguinte: aproveite o carnaval para tentar ser quem você não é. Pense no que a palavra fantasia pode significar. Nem que seja algo simples como “menos crítico comigo mesmo” ou “não ficar pensando no amanhã”. Imagine possibilidades. Talvez o você do carnaval tenha alguma coisa pra ensinar ao você do resto do ano. De um jeito ou de outro, tudo se acaba na quarta-feira.Por hoje é sóCuidem de si, cuidem dos seus. Mais que tudo, divirtam-se. Até a próxima.crisdias This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit boanoiteinternet.com.br/subscribe

About ten years ago, two of journalist Lissa Soep's closest friends died around the same time. In her grieving, she found consolation in the philosophy of a 20th century Russian literary theorist, Mikhail Bakhtin, and his theory of “double voicing” – the idea that our speech is “filled to overflowing with other people's words." Her friends had not disappeared, instead, they'd slipped into her own language, and that of the people around her. We talk to Soep about great friendships, the mysterious power of language to sustain conversations even with those who have died and her book, “Other People's Words." Guests: Lissa Soep, author, "Other People's Words: Friendship, Loss and the Conversations that Never End." She is also senior editor for audio at Vox Media

The opening of classified documents from the Soviet era has been dubbed the "archival revolution" due to its unprecedented scale, drama, and impact. With a storyteller's sensibility, in Reading the Archival Revolution: Declassified Stories and Their Challenges (Stanford University Press, 2024), Cristina Vatulescu identifies and takes on the main challenges of reading in these archives. This transnational study foregrounds peripheral Eastern European perspectives and the ethical stakes of archival research. In so doing, it contributes to the urgent task of decolonizing the field of Eastern European and Russian studies at this critical moment in the region's history. Drawing on diverse work ranging from Mikhail Bakhtin to Tina Campt, the book enters into broader conversations about the limits and potential of reading documents, fictions, and one another. Pairing one key reading challenge with a particularly arresting story, Vatulescu in turn investigates Michel Foucault's traces in Polish secret police archives; tackles the files, reenactment film, and photo albums of a socialist bank heist; pits autofiction against disinformation in the secret police files of Nobel Prize laureate Herta Müller; and takes on the digital remediation of Soviet-era archives by analyzing contested translations of the Iron Curtain trope from its 1946 origins to the current war in Ukraine. The result is a bona fide reader's guide to Eastern Europe's ongoing archival revolution. Cristina Vatulescu is Associate Professor, Department of Comparative Literature, New York University and the author of Police Aesthetics: Literature, Film, and the Secret Police Archives in Soviet Times (Stanford, 2010). Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The opening of classified documents from the Soviet era has been dubbed the "archival revolution" due to its unprecedented scale, drama, and impact. With a storyteller's sensibility, in Reading the Archival Revolution: Declassified Stories and Their Challenges (Stanford University Press, 2024), Cristina Vatulescu identifies and takes on the main challenges of reading in these archives. This transnational study foregrounds peripheral Eastern European perspectives and the ethical stakes of archival research. In so doing, it contributes to the urgent task of decolonizing the field of Eastern European and Russian studies at this critical moment in the region's history. Drawing on diverse work ranging from Mikhail Bakhtin to Tina Campt, the book enters into broader conversations about the limits and potential of reading documents, fictions, and one another. Pairing one key reading challenge with a particularly arresting story, Vatulescu in turn investigates Michel Foucault's traces in Polish secret police archives; tackles the files, reenactment film, and photo albums of a socialist bank heist; pits autofiction against disinformation in the secret police files of Nobel Prize laureate Herta Müller; and takes on the digital remediation of Soviet-era archives by analyzing contested translations of the Iron Curtain trope from its 1946 origins to the current war in Ukraine. The result is a bona fide reader's guide to Eastern Europe's ongoing archival revolution. Cristina Vatulescu is Associate Professor, Department of Comparative Literature, New York University and the author of Police Aesthetics: Literature, Film, and the Secret Police Archives in Soviet Times (Stanford, 2010). Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The opening of classified documents from the Soviet era has been dubbed the "archival revolution" due to its unprecedented scale, drama, and impact. With a storyteller's sensibility, in Reading the Archival Revolution: Declassified Stories and Their Challenges (Stanford University Press, 2024), Cristina Vatulescu identifies and takes on the main challenges of reading in these archives. This transnational study foregrounds peripheral Eastern European perspectives and the ethical stakes of archival research. In so doing, it contributes to the urgent task of decolonizing the field of Eastern European and Russian studies at this critical moment in the region's history. Drawing on diverse work ranging from Mikhail Bakhtin to Tina Campt, the book enters into broader conversations about the limits and potential of reading documents, fictions, and one another. Pairing one key reading challenge with a particularly arresting story, Vatulescu in turn investigates Michel Foucault's traces in Polish secret police archives; tackles the files, reenactment film, and photo albums of a socialist bank heist; pits autofiction against disinformation in the secret police files of Nobel Prize laureate Herta Müller; and takes on the digital remediation of Soviet-era archives by analyzing contested translations of the Iron Curtain trope from its 1946 origins to the current war in Ukraine. The result is a bona fide reader's guide to Eastern Europe's ongoing archival revolution. Cristina Vatulescu is Associate Professor, Department of Comparative Literature, New York University and the author of Police Aesthetics: Literature, Film, and the Secret Police Archives in Soviet Times (Stanford, 2010). Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The opening of classified documents from the Soviet era has been dubbed the "archival revolution" due to its unprecedented scale, drama, and impact. With a storyteller's sensibility, in Reading the Archival Revolution: Declassified Stories and Their Challenges (Stanford University Press, 2024), Cristina Vatulescu identifies and takes on the main challenges of reading in these archives. This transnational study foregrounds peripheral Eastern European perspectives and the ethical stakes of archival research. In so doing, it contributes to the urgent task of decolonizing the field of Eastern European and Russian studies at this critical moment in the region's history. Drawing on diverse work ranging from Mikhail Bakhtin to Tina Campt, the book enters into broader conversations about the limits and potential of reading documents, fictions, and one another. Pairing one key reading challenge with a particularly arresting story, Vatulescu in turn investigates Michel Foucault's traces in Polish secret police archives; tackles the files, reenactment film, and photo albums of a socialist bank heist; pits autofiction against disinformation in the secret police files of Nobel Prize laureate Herta Müller; and takes on the digital remediation of Soviet-era archives by analyzing contested translations of the Iron Curtain trope from its 1946 origins to the current war in Ukraine. The result is a bona fide reader's guide to Eastern Europe's ongoing archival revolution. Cristina Vatulescu is Associate Professor, Department of Comparative Literature, New York University and the author of Police Aesthetics: Literature, Film, and the Secret Police Archives in Soviet Times (Stanford, 2010). Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

The opening of classified documents from the Soviet era has been dubbed the "archival revolution" due to its unprecedented scale, drama, and impact. With a storyteller's sensibility, in Reading the Archival Revolution: Declassified Stories and Their Challenges (Stanford University Press, 2024), Cristina Vatulescu identifies and takes on the main challenges of reading in these archives. This transnational study foregrounds peripheral Eastern European perspectives and the ethical stakes of archival research. In so doing, it contributes to the urgent task of decolonizing the field of Eastern European and Russian studies at this critical moment in the region's history. Drawing on diverse work ranging from Mikhail Bakhtin to Tina Campt, the book enters into broader conversations about the limits and potential of reading documents, fictions, and one another. Pairing one key reading challenge with a particularly arresting story, Vatulescu in turn investigates Michel Foucault's traces in Polish secret police archives; tackles the files, reenactment film, and photo albums of a socialist bank heist; pits autofiction against disinformation in the secret police files of Nobel Prize laureate Herta Müller; and takes on the digital remediation of Soviet-era archives by analyzing contested translations of the Iron Curtain trope from its 1946 origins to the current war in Ukraine. The result is a bona fide reader's guide to Eastern Europe's ongoing archival revolution. Cristina Vatulescu is Associate Professor, Department of Comparative Literature, New York University and the author of Police Aesthetics: Literature, Film, and the Secret Police Archives in Soviet Times (Stanford, 2010). Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies

The opening of classified documents from the Soviet era has been dubbed the "archival revolution" due to its unprecedented scale, drama, and impact. With a storyteller's sensibility, in Reading the Archival Revolution: Declassified Stories and Their Challenges (Stanford University Press, 2024), Cristina Vatulescu identifies and takes on the main challenges of reading in these archives. This transnational study foregrounds peripheral Eastern European perspectives and the ethical stakes of archival research. In so doing, it contributes to the urgent task of decolonizing the field of Eastern European and Russian studies at this critical moment in the region's history. Drawing on diverse work ranging from Mikhail Bakhtin to Tina Campt, the book enters into broader conversations about the limits and potential of reading documents, fictions, and one another. Pairing one key reading challenge with a particularly arresting story, Vatulescu in turn investigates Michel Foucault's traces in Polish secret police archives; tackles the files, reenactment film, and photo albums of a socialist bank heist; pits autofiction against disinformation in the secret police files of Nobel Prize laureate Herta Müller; and takes on the digital remediation of Soviet-era archives by analyzing contested translations of the Iron Curtain trope from its 1946 origins to the current war in Ukraine. The result is a bona fide reader's guide to Eastern Europe's ongoing archival revolution. Cristina Vatulescu is Associate Professor, Department of Comparative Literature, New York University and the author of Police Aesthetics: Literature, Film, and the Secret Police Archives in Soviet Times (Stanford, 2010). Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/eastern-european-studies

The opening of classified documents from the Soviet era has been dubbed the "archival revolution" due to its unprecedented scale, drama, and impact. With a storyteller's sensibility, in Reading the Archival Revolution: Declassified Stories and Their Challenges (Stanford University Press, 2024), Cristina Vatulescu identifies and takes on the main challenges of reading in these archives. This transnational study foregrounds peripheral Eastern European perspectives and the ethical stakes of archival research. In so doing, it contributes to the urgent task of decolonizing the field of Eastern European and Russian studies at this critical moment in the region's history. Drawing on diverse work ranging from Mikhail Bakhtin to Tina Campt, the book enters into broader conversations about the limits and potential of reading documents, fictions, and one another. Pairing one key reading challenge with a particularly arresting story, Vatulescu in turn investigates Michel Foucault's traces in Polish secret police archives; tackles the files, reenactment film, and photo albums of a socialist bank heist; pits autofiction against disinformation in the secret police files of Nobel Prize laureate Herta Müller; and takes on the digital remediation of Soviet-era archives by analyzing contested translations of the Iron Curtain trope from its 1946 origins to the current war in Ukraine. The result is a bona fide reader's guide to Eastern Europe's ongoing archival revolution. Cristina Vatulescu is Associate Professor, Department of Comparative Literature, New York University and the author of Police Aesthetics: Literature, Film, and the Secret Police Archives in Soviet Times (Stanford, 2010). Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices

The opening of classified documents from the Soviet era has been dubbed the "archival revolution" due to its unprecedented scale, drama, and impact. With a storyteller's sensibility, in Reading the Archival Revolution: Declassified Stories and Their Challenges (Stanford University Press, 2024), Cristina Vatulescu identifies and takes on the main challenges of reading in these archives. This transnational study foregrounds peripheral Eastern European perspectives and the ethical stakes of archival research. In so doing, it contributes to the urgent task of decolonizing the field of Eastern European and Russian studies at this critical moment in the region's history. Drawing on diverse work ranging from Mikhail Bakhtin to Tina Campt, the book enters into broader conversations about the limits and potential of reading documents, fictions, and one another. Pairing one key reading challenge with a particularly arresting story, Vatulescu in turn investigates Michel Foucault's traces in Polish secret police archives; tackles the files, reenactment film, and photo albums of a socialist bank heist; pits autofiction against disinformation in the secret police files of Nobel Prize laureate Herta Müller; and takes on the digital remediation of Soviet-era archives by analyzing contested translations of the Iron Curtain trope from its 1946 origins to the current war in Ukraine. The result is a bona fide reader's guide to Eastern Europe's ongoing archival revolution. Cristina Vatulescu is Associate Professor, Department of Comparative Literature, New York University and the author of Police Aesthetics: Literature, Film, and the Secret Police Archives in Soviet Times (Stanford, 2010). Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices

The intersection of sociolinguistics and discourse analysis highlights how language operates within social contexts, bridging individual language usage and broader societal structures. Sociolinguistics examines language variation and change influenced by socio-economic status, ethnicity, gender, and age, while discourse analysis focuses on language beyond the sentence level, scrutinizing how texts and spoken interactions construct meaning and social reality. Discourse analysis, rooted in structuralism, post-structuralism, and functionalism, investigates how language is used in real contexts, emphasizing the dynamic interplay between language and social processes. Pioneers like Michel Foucault and Mikhail Bakhtin contributed significantly to this field, with Foucault's concept of discursive formations and Bakhtin's notions of dialogism and heteroglossia highlighting the power relations and interactive nature of discourse. Foucault, influenced by the French intellectual tradition, focused on the regulatory functions of discourse through power/knowledge dynamics, developing archaeological and genealogical methods to analyze historical discourses. In contrast, Bakhtin, embedded in the Russian literary tradition, emphasized the dialogic and subversive aspects of language, exploring the multiplicity of voices within discourse. Key concepts in discourse analysis include discourse, genre, intertextuality, cohesion, and coherence. Methodologically, it employs both qualitative and quantitative techniques, such as critical discourse analysis and corpus linguistics, to uncover patterns and ideological underpinnings in language use. The convergence of sociolinguistics and discourse analysis is evident in the study of social variation in language use, the examination of power and ideology in discourse, identity construction through language, contextualization and pragmatics, and language change. This interdisciplinary approach enriches our understanding of language as a social phenomenon, illuminating the complex relationship between linguistic practices and social structures.

In this episode of the Project Narrative Podcast, Jim Phelan and Daphna Edrinast-Vulcan discuss Katherine Mansfield's 1922 short story, “The Fly.” Daphna Erdinast-Vulcan is Professor of English Language and Literature at the University of Haifa. Her main areas of scholarly interest are modernism and the modernist novel, Joseph Conrad, Mikhail Bakhtin, philosophy and literature, ethnography… Continue reading Episode 32: Jim Phelan & Daphna Erdinast-Vulcan — Katherine Mansfield's “The Fly”

Sobre a gênese da teoria literária com Aristóteles e Platão. Algo sobre Northrop Frye e Mikhail Bakhtin. Música de desfecho: The Caretaker - Misplaced in Time (2016).

“To be means to communicate.” Art by Hailey Russell Music by Peter Bille Larsen I'm super grateful to you for liking and sharing this podcast, but if you'd also like to support me with a no-gift-too-small donation, you can do that by visiting my personal page.

About ten years ago, two of journalist Lissa Soep's closest friends died around the same time. In her grieving, she found consolation in the philosophy of a 20th century Russian literary theorist, Mikhail Bakhtin, and his theory of “double voicing” – the idea that our speech is “filled to overflowing with other people's words”. Her friends had not disappeared, instead, they'd slipped into her own language, and that of the people around her. We talk to Soep about great friendships, the mysterious power of language to sustain conversations even with those who have died and her book, “Other People's Words.” Guests: Lissa Soep, author, "Other People's Words: Friendship, Loss and the Conversations that Never End." She is also senior editor for audio at Vox Media

In this episode of the Such a Nightmare podcast, hosts Katherine Troyer and Toni Tresca put a coin in the pinball machine to discuss 2021's Willy's Wonderland. Episode Highlights: We talk about how Nicholas Cage is the reason for the season and, hands down, the best part of this film. We explore the film's brilliant practical effects with the puppets/animatronics. Katherine shares how the film builds on the carnivalesque aspects of the suspension of normality, the carnival king, the ambivalent nature of fire and laughter, and dualism of images. We discuss the lovely performances of the adult actors, but lament the teenage characters and how their scenes--which take us out of Willy's Wonderland--pull down the narrative. Ultimately, as Toni puts it, while the film might not have hit all the notes...we'd love to grab a beer with the fascinating and clever filmmakers.   A Dose of Scholarship: For more on the carnivalesque, check out Mikhail Bakhtin's "Carnival and the Carnivalesque" in John Storey's 1998 Cultural Theory and Popular Culture. And be sure to check out the essay Toni referenced: Clark Collis's "'Nic Cage is into reptiles...': The insane, behind-the-scenes story of Willy's Wonderland."   This podcast episode first aired on April 5, 2024. Shout-out to Jackson O'Brien; thank you for editing this episode! ALL LINKS  Twitter/Instagram: @NightmarePod1; YouTube: Such a Nightmare;  Email: suchanightmare.pod@gmail.com; Website: suchanightmare.com

Since the age of Tolstoy, Dostoevsky, and Chekhov, Russian literature has posed questions about good and evil, moral responsibility, and human freedom with a clarity and intensity found nowhere else. In Wonder Confronts Certainty: Russian Writers on the Timeless Questions and Why Their Answers Matter (Harvard University Press, 2023), Dr. Gary Saul Morson delineates intellectual debates that have coursed through two centuries of Russian writing, as the greatest thinkers of the empire and then the Soviet Union enchanted readers with their idealism, philosophical insight, and revolutionary fervor. Dr. Morson describes the Russian literary tradition as an argument between a radical intelligentsia that uncompromisingly followed ideology down the paths of revolution and violence, and writers who probed ever more deeply into the human condition. The debate concerned what Russians called “the accursed questions”: If there is no God, are good and evil merely human constructs? Should we look for life's essence in ordinary or extreme conditions? Are individual minds best understood in terms of an overarching theory or, as Tolstoy thought, by tracing the “tiny alternations of consciousness”? Exploring apologia for bloodshed, Dr. Morson adapts Mikhail Bakhtin's concept of the non-alibi—the idea that one cannot escape or displace responsibility for one's actions. And, throughout, Dr. Morson isolates a characteristic theme of Russian culture: how the aspiration to relieve profound suffering can lead to either heartfelt empathy or bloodthirsty tyranny. What emerges is a contest between unyielding dogmatism and open-minded dialogue, between heady certainty and a humble sense of wonder at the world's elusive complexity—a thought-provoking journey into inescapable questions. Gary Saul Morson is without a doubt one of the leading specialists on 19th and 20th century Russian literature. He is professor of Arts and Humanities at Northwestern University. And he is perhaps one of the few writers who has written for both The New Criterion and the New York Review of Books.  Charles Coutinho, PH. D., Associate Fellow of the Royal Historical Society, received his doctorate from New York University. His area of specialization is 19th and 20th-century European, American diplomatic and political history. He has written for Chatham House's International Affairs, the Institute of Historical Research's Reviews in History and the University of Rouen's online periodical Cercles. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Since the age of Tolstoy, Dostoevsky, and Chekhov, Russian literature has posed questions about good and evil, moral responsibility, and human freedom with a clarity and intensity found nowhere else. In Wonder Confronts Certainty: Russian Writers on the Timeless Questions and Why Their Answers Matter (Harvard University Press, 2023), Dr. Gary Saul Morson delineates intellectual debates that have coursed through two centuries of Russian writing, as the greatest thinkers of the empire and then the Soviet Union enchanted readers with their idealism, philosophical insight, and revolutionary fervor. Dr. Morson describes the Russian literary tradition as an argument between a radical intelligentsia that uncompromisingly followed ideology down the paths of revolution and violence, and writers who probed ever more deeply into the human condition. The debate concerned what Russians called “the accursed questions”: If there is no God, are good and evil merely human constructs? Should we look for life's essence in ordinary or extreme conditions? Are individual minds best understood in terms of an overarching theory or, as Tolstoy thought, by tracing the “tiny alternations of consciousness”? Exploring apologia for bloodshed, Dr. Morson adapts Mikhail Bakhtin's concept of the non-alibi—the idea that one cannot escape or displace responsibility for one's actions. And, throughout, Dr. Morson isolates a characteristic theme of Russian culture: how the aspiration to relieve profound suffering can lead to either heartfelt empathy or bloodthirsty tyranny. What emerges is a contest between unyielding dogmatism and open-minded dialogue, between heady certainty and a humble sense of wonder at the world's elusive complexity—a thought-provoking journey into inescapable questions. Gary Saul Morson is without a doubt one of the leading specialists on 19th and 20th century Russian literature. He is professor of Arts and Humanities at Northwestern University. And he is perhaps one of the few writers who has written for both The New Criterion and the New York Review of Books.  Charles Coutinho, PH. D., Associate Fellow of the Royal Historical Society, received his doctorate from New York University. His area of specialization is 19th and 20th-century European, American diplomatic and political history. He has written for Chatham House's International Affairs, the Institute of Historical Research's Reviews in History and the University of Rouen's online periodical Cercles. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Since the age of Tolstoy, Dostoevsky, and Chekhov, Russian literature has posed questions about good and evil, moral responsibility, and human freedom with a clarity and intensity found nowhere else. In Wonder Confronts Certainty: Russian Writers on the Timeless Questions and Why Their Answers Matter (Harvard University Press, 2023), Dr. Gary Saul Morson delineates intellectual debates that have coursed through two centuries of Russian writing, as the greatest thinkers of the empire and then the Soviet Union enchanted readers with their idealism, philosophical insight, and revolutionary fervor. Dr. Morson describes the Russian literary tradition as an argument between a radical intelligentsia that uncompromisingly followed ideology down the paths of revolution and violence, and writers who probed ever more deeply into the human condition. The debate concerned what Russians called “the accursed questions”: If there is no God, are good and evil merely human constructs? Should we look for life's essence in ordinary or extreme conditions? Are individual minds best understood in terms of an overarching theory or, as Tolstoy thought, by tracing the “tiny alternations of consciousness”? Exploring apologia for bloodshed, Dr. Morson adapts Mikhail Bakhtin's concept of the non-alibi—the idea that one cannot escape or displace responsibility for one's actions. And, throughout, Dr. Morson isolates a characteristic theme of Russian culture: how the aspiration to relieve profound suffering can lead to either heartfelt empathy or bloodthirsty tyranny. What emerges is a contest between unyielding dogmatism and open-minded dialogue, between heady certainty and a humble sense of wonder at the world's elusive complexity—a thought-provoking journey into inescapable questions. Gary Saul Morson is without a doubt one of the leading specialists on 19th and 20th century Russian literature. He is professor of Arts and Humanities at Northwestern University. And he is perhaps one of the few writers who has written for both The New Criterion and the New York Review of Books.  Charles Coutinho, PH. D., Associate Fellow of the Royal Historical Society, received his doctorate from New York University. His area of specialization is 19th and 20th-century European, American diplomatic and political history. He has written for Chatham House's International Affairs, the Institute of Historical Research's Reviews in History and the University of Rouen's online periodical Cercles. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies

Since the age of Tolstoy, Dostoevsky, and Chekhov, Russian literature has posed questions about good and evil, moral responsibility, and human freedom with a clarity and intensity found nowhere else. In Wonder Confronts Certainty: Russian Writers on the Timeless Questions and Why Their Answers Matter (Harvard University Press, 2023), Dr. Gary Saul Morson delineates intellectual debates that have coursed through two centuries of Russian writing, as the greatest thinkers of the empire and then the Soviet Union enchanted readers with their idealism, philosophical insight, and revolutionary fervor. Dr. Morson describes the Russian literary tradition as an argument between a radical intelligentsia that uncompromisingly followed ideology down the paths of revolution and violence, and writers who probed ever more deeply into the human condition. The debate concerned what Russians called “the accursed questions”: If there is no God, are good and evil merely human constructs? Should we look for life's essence in ordinary or extreme conditions? Are individual minds best understood in terms of an overarching theory or, as Tolstoy thought, by tracing the “tiny alternations of consciousness”? Exploring apologia for bloodshed, Dr. Morson adapts Mikhail Bakhtin's concept of the non-alibi—the idea that one cannot escape or displace responsibility for one's actions. And, throughout, Dr. Morson isolates a characteristic theme of Russian culture: how the aspiration to relieve profound suffering can lead to either heartfelt empathy or bloodthirsty tyranny. What emerges is a contest between unyielding dogmatism and open-minded dialogue, between heady certainty and a humble sense of wonder at the world's elusive complexity—a thought-provoking journey into inescapable questions. Gary Saul Morson is without a doubt one of the leading specialists on 19th and 20th century Russian literature. He is professor of Arts and Humanities at Northwestern University. And he is perhaps one of the few writers who has written for both The New Criterion and the New York Review of Books.  Charles Coutinho, PH. D., Associate Fellow of the Royal Historical Society, received his doctorate from New York University. His area of specialization is 19th and 20th-century European, American diplomatic and political history. He has written for Chatham House's International Affairs, the Institute of Historical Research's Reviews in History and the University of Rouen's online periodical Cercles. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Since the age of Tolstoy, Dostoevsky, and Chekhov, Russian literature has posed questions about good and evil, moral responsibility, and human freedom with a clarity and intensity found nowhere else. In Wonder Confronts Certainty: Russian Writers on the Timeless Questions and Why Their Answers Matter (Harvard University Press, 2023), Dr. Gary Saul Morson delineates intellectual debates that have coursed through two centuries of Russian writing, as the greatest thinkers of the empire and then the Soviet Union enchanted readers with their idealism, philosophical insight, and revolutionary fervor. Dr. Morson describes the Russian literary tradition as an argument between a radical intelligentsia that uncompromisingly followed ideology down the paths of revolution and violence, and writers who probed ever more deeply into the human condition. The debate concerned what Russians called “the accursed questions”: If there is no God, are good and evil merely human constructs? Should we look for life's essence in ordinary or extreme conditions? Are individual minds best understood in terms of an overarching theory or, as Tolstoy thought, by tracing the “tiny alternations of consciousness”? Exploring apologia for bloodshed, Dr. Morson adapts Mikhail Bakhtin's concept of the non-alibi—the idea that one cannot escape or displace responsibility for one's actions. And, throughout, Dr. Morson isolates a characteristic theme of Russian culture: how the aspiration to relieve profound suffering can lead to either heartfelt empathy or bloodthirsty tyranny. What emerges is a contest between unyielding dogmatism and open-minded dialogue, between heady certainty and a humble sense of wonder at the world's elusive complexity—a thought-provoking journey into inescapable questions. Gary Saul Morson is without a doubt one of the leading specialists on 19th and 20th century Russian literature. He is professor of Arts and Humanities at Northwestern University. And he is perhaps one of the few writers who has written for both The New Criterion and the New York Review of Books.  Charles Coutinho, PH. D., Associate Fellow of the Royal Historical Society, received his doctorate from New York University. His area of specialization is 19th and 20th-century European, American diplomatic and political history. He has written for Chatham House's International Affairs, the Institute of Historical Research's Reviews in History and the University of Rouen's online periodical Cercles. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/eastern-european-studies

Conflict and trauma remain among the most prevalent themes in film and literature. Comics has never avoided such narratives, and comics artists are writing them in ways that are both different from and complementary to literature and film. Harriet E. H. Earle brings together two distinct areas of research—trauma studies and comics studies—to provide a new interpretation of a long-standing theme. Focusing on representations of conflict in American comics after the Vietnam War, Earle claims that the comics form is uniquely able to show traumatic experience by representing events as viscerally as possible. Using texts from across the form and placing mainstream superhero comics alongside alternative and art comics, Earle suggests that comics are the ideal artistic representation of trauma. Because comics bridge the gap between the visual and the written, they represent such complicated narratives as loss and trauma in unique ways, particularly through the manipulation of time and experience. Comics can fold time and confront traumatic events, be they personal or shared, through a myriad of both literary and visual devices. As a result, comics can represent trauma in ways that are unavailable to other narrative and artistic forms. With themes such as dreams and mourning, Earle concentrates on trauma in American comics after the Vietnam War. Examples include Alissa Torres's American Widow, Doug Murray's The 'Nam, and Art Spiegelman's much-lauded Maus. These works pair with ideas from a wide range of thinkers, including Sigmund Freud, Mikhail Bakhtin, and Fredric Jameson, as well as contemporary trauma theory and clinical psychology. Through these examples and others, Comics, Trauma, and the New Art of War (UP of Mississippi, 2017) proves that comics open up new avenues to explore personal and public trauma in extraordinary, necessary ways. Dr. Harriet Earle is a senior lecturer in English at Sheffield Hallam University and a Research Fellow at the Centre for War, Atrocity, and Genocide at the University of Nipissing.  Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Conflict and trauma remain among the most prevalent themes in film and literature. Comics has never avoided such narratives, and comics artists are writing them in ways that are both different from and complementary to literature and film. Harriet E. H. Earle brings together two distinct areas of research—trauma studies and comics studies—to provide a new interpretation of a long-standing theme. Focusing on representations of conflict in American comics after the Vietnam War, Earle claims that the comics form is uniquely able to show traumatic experience by representing events as viscerally as possible. Using texts from across the form and placing mainstream superhero comics alongside alternative and art comics, Earle suggests that comics are the ideal artistic representation of trauma. Because comics bridge the gap between the visual and the written, they represent such complicated narratives as loss and trauma in unique ways, particularly through the manipulation of time and experience. Comics can fold time and confront traumatic events, be they personal or shared, through a myriad of both literary and visual devices. As a result, comics can represent trauma in ways that are unavailable to other narrative and artistic forms. With themes such as dreams and mourning, Earle concentrates on trauma in American comics after the Vietnam War. Examples include Alissa Torres's American Widow, Doug Murray's The 'Nam, and Art Spiegelman's much-lauded Maus. These works pair with ideas from a wide range of thinkers, including Sigmund Freud, Mikhail Bakhtin, and Fredric Jameson, as well as contemporary trauma theory and clinical psychology. Through these examples and others, Comics, Trauma, and the New Art of War (UP of Mississippi, 2017) proves that comics open up new avenues to explore personal and public trauma in extraordinary, necessary ways. Dr. Harriet Earle is a senior lecturer in English at Sheffield Hallam University and a Research Fellow at the Centre for War, Atrocity, and Genocide at the University of Nipissing.  Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history

Conflict and trauma remain among the most prevalent themes in film and literature. Comics has never avoided such narratives, and comics artists are writing them in ways that are both different from and complementary to literature and film. Harriet E. H. Earle brings together two distinct areas of research—trauma studies and comics studies—to provide a new interpretation of a long-standing theme. Focusing on representations of conflict in American comics after the Vietnam War, Earle claims that the comics form is uniquely able to show traumatic experience by representing events as viscerally as possible. Using texts from across the form and placing mainstream superhero comics alongside alternative and art comics, Earle suggests that comics are the ideal artistic representation of trauma. Because comics bridge the gap between the visual and the written, they represent such complicated narratives as loss and trauma in unique ways, particularly through the manipulation of time and experience. Comics can fold time and confront traumatic events, be they personal or shared, through a myriad of both literary and visual devices. As a result, comics can represent trauma in ways that are unavailable to other narrative and artistic forms. With themes such as dreams and mourning, Earle concentrates on trauma in American comics after the Vietnam War. Examples include Alissa Torres's American Widow, Doug Murray's The 'Nam, and Art Spiegelman's much-lauded Maus. These works pair with ideas from a wide range of thinkers, including Sigmund Freud, Mikhail Bakhtin, and Fredric Jameson, as well as contemporary trauma theory and clinical psychology. Through these examples and others, Comics, Trauma, and the New Art of War (UP of Mississippi, 2017) proves that comics open up new avenues to explore personal and public trauma in extraordinary, necessary ways. Dr. Harriet Earle is a senior lecturer in English at Sheffield Hallam University and a Research Fellow at the Centre for War, Atrocity, and Genocide at the University of Nipissing.  Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Conflict and trauma remain among the most prevalent themes in film and literature. Comics has never avoided such narratives, and comics artists are writing them in ways that are both different from and complementary to literature and film. Harriet E. H. Earle brings together two distinct areas of research—trauma studies and comics studies—to provide a new interpretation of a long-standing theme. Focusing on representations of conflict in American comics after the Vietnam War, Earle claims that the comics form is uniquely able to show traumatic experience by representing events as viscerally as possible. Using texts from across the form and placing mainstream superhero comics alongside alternative and art comics, Earle suggests that comics are the ideal artistic representation of trauma. Because comics bridge the gap between the visual and the written, they represent such complicated narratives as loss and trauma in unique ways, particularly through the manipulation of time and experience. Comics can fold time and confront traumatic events, be they personal or shared, through a myriad of both literary and visual devices. As a result, comics can represent trauma in ways that are unavailable to other narrative and artistic forms. With themes such as dreams and mourning, Earle concentrates on trauma in American comics after the Vietnam War. Examples include Alissa Torres's American Widow, Doug Murray's The 'Nam, and Art Spiegelman's much-lauded Maus. These works pair with ideas from a wide range of thinkers, including Sigmund Freud, Mikhail Bakhtin, and Fredric Jameson, as well as contemporary trauma theory and clinical psychology. Through these examples and others, Comics, Trauma, and the New Art of War (UP of Mississippi, 2017) proves that comics open up new avenues to explore personal and public trauma in extraordinary, necessary ways. Dr. Harriet Earle is a senior lecturer in English at Sheffield Hallam University and a Research Fellow at the Centre for War, Atrocity, and Genocide at the University of Nipissing.  Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology

Conflict and trauma remain among the most prevalent themes in film and literature. Comics has never avoided such narratives, and comics artists are writing them in ways that are both different from and complementary to literature and film. Harriet E. H. Earle brings together two distinct areas of research—trauma studies and comics studies—to provide a new interpretation of a long-standing theme. Focusing on representations of conflict in American comics after the Vietnam War, Earle claims that the comics form is uniquely able to show traumatic experience by representing events as viscerally as possible. Using texts from across the form and placing mainstream superhero comics alongside alternative and art comics, Earle suggests that comics are the ideal artistic representation of trauma. Because comics bridge the gap between the visual and the written, they represent such complicated narratives as loss and trauma in unique ways, particularly through the manipulation of time and experience. Comics can fold time and confront traumatic events, be they personal or shared, through a myriad of both literary and visual devices. As a result, comics can represent trauma in ways that are unavailable to other narrative and artistic forms. With themes such as dreams and mourning, Earle concentrates on trauma in American comics after the Vietnam War. Examples include Alissa Torres's American Widow, Doug Murray's The 'Nam, and Art Spiegelman's much-lauded Maus. These works pair with ideas from a wide range of thinkers, including Sigmund Freud, Mikhail Bakhtin, and Fredric Jameson, as well as contemporary trauma theory and clinical psychology. Through these examples and others, Comics, Trauma, and the New Art of War (UP of Mississippi, 2017) proves that comics open up new avenues to explore personal and public trauma in extraordinary, necessary ways. Dr. Harriet Earle is a senior lecturer in English at Sheffield Hallam University and a Research Fellow at the Centre for War, Atrocity, and Genocide at the University of Nipissing.  Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Conflict and trauma remain among the most prevalent themes in film and literature. Comics has never avoided such narratives, and comics artists are writing them in ways that are both different from and complementary to literature and film. Harriet E. H. Earle brings together two distinct areas of research—trauma studies and comics studies—to provide a new interpretation of a long-standing theme. Focusing on representations of conflict in American comics after the Vietnam War, Earle claims that the comics form is uniquely able to show traumatic experience by representing events as viscerally as possible. Using texts from across the form and placing mainstream superhero comics alongside alternative and art comics, Earle suggests that comics are the ideal artistic representation of trauma. Because comics bridge the gap between the visual and the written, they represent such complicated narratives as loss and trauma in unique ways, particularly through the manipulation of time and experience. Comics can fold time and confront traumatic events, be they personal or shared, through a myriad of both literary and visual devices. As a result, comics can represent trauma in ways that are unavailable to other narrative and artistic forms. With themes such as dreams and mourning, Earle concentrates on trauma in American comics after the Vietnam War. Examples include Alissa Torres's American Widow, Doug Murray's The 'Nam, and Art Spiegelman's much-lauded Maus. These works pair with ideas from a wide range of thinkers, including Sigmund Freud, Mikhail Bakhtin, and Fredric Jameson, as well as contemporary trauma theory and clinical psychology. Through these examples and others, Comics, Trauma, and the New Art of War (UP of Mississippi, 2017) proves that comics open up new avenues to explore personal and public trauma in extraordinary, necessary ways. Dr. Harriet Earle is a senior lecturer in English at Sheffield Hallam University and a Research Fellow at the Centre for War, Atrocity, and Genocide at the University of Nipissing.  Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Conflict and trauma remain among the most prevalent themes in film and literature. Comics has never avoided such narratives, and comics artists are writing them in ways that are both different from and complementary to literature and film. Harriet E. H. Earle brings together two distinct areas of research—trauma studies and comics studies—to provide a new interpretation of a long-standing theme. Focusing on representations of conflict in American comics after the Vietnam War, Earle claims that the comics form is uniquely able to show traumatic experience by representing events as viscerally as possible. Using texts from across the form and placing mainstream superhero comics alongside alternative and art comics, Earle suggests that comics are the ideal artistic representation of trauma. Because comics bridge the gap between the visual and the written, they represent such complicated narratives as loss and trauma in unique ways, particularly through the manipulation of time and experience. Comics can fold time and confront traumatic events, be they personal or shared, through a myriad of both literary and visual devices. As a result, comics can represent trauma in ways that are unavailable to other narrative and artistic forms. With themes such as dreams and mourning, Earle concentrates on trauma in American comics after the Vietnam War. Examples include Alissa Torres's American Widow, Doug Murray's The 'Nam, and Art Spiegelman's much-lauded Maus. These works pair with ideas from a wide range of thinkers, including Sigmund Freud, Mikhail Bakhtin, and Fredric Jameson, as well as contemporary trauma theory and clinical psychology. Through these examples and others, Comics, Trauma, and the New Art of War (UP of Mississippi, 2017) proves that comics open up new avenues to explore personal and public trauma in extraordinary, necessary ways. Dr. Harriet Earle is a senior lecturer in English at Sheffield Hallam University and a Research Fellow at the Centre for War, Atrocity, and Genocide at the University of Nipissing.  Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

A noted literary scholar traverses the Russian canon, exploring how realists, idealists, and revolutionaries debated good and evil, moral responsibility, and freedom. Since the age of Tolstoy, Dostoevsky, and Chekhov, Russian literature has posed questions about good and evil, moral responsibility, and human freedom with a clarity and intensity found nowhere else. In Wonder Confronts Certainty: Russian Writers on the Timeless Questions and Why Their Answers Matter (Harvard University Press, 2023), Dr. Gary Saul Morson delineates intellectual debates that have coursed through two centuries of Russian writing, as the greatest thinkers of the empire and then the Soviet Union enchanted readers with their idealism, philosophical insight, and revolutionary fervor. Dr. Morson describes the Russian literary tradition as an argument between a radical intelligentsia that uncompromisingly followed ideology down the paths of revolution and violence, and writers who probed ever more deeply into the human condition. The debate concerned what Russians called “the accursed questions”: If there is no God, are good and evil merely human constructs? Should we look for life's essence in ordinary or extreme conditions? Are individual minds best understood in terms of an overarching theory or, as Tolstoy thought, by tracing the “tiny alternations of consciousness”? Exploring apologia for bloodshed, Dr. Morson adapts Mikhail Bakhtin's concept of the non-alibi—the idea that one cannot escape or displace responsibility for one's actions. And, throughout, Dr. Morson isolates a characteristic theme of Russian culture: how the aspiration to relieve profound suffering can lead to either heartfelt empathy or bloodthirsty tyranny. What emerges is a contest between unyielding dogmatism and open-minded dialogue, between heady certainty and a humble sense of wonder at the world's elusive complexity—a thought-provoking journey into inescapable questions. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

A noted literary scholar traverses the Russian canon, exploring how realists, idealists, and revolutionaries debated good and evil, moral responsibility, and freedom. Since the age of Tolstoy, Dostoevsky, and Chekhov, Russian literature has posed questions about good and evil, moral responsibility, and human freedom with a clarity and intensity found nowhere else. In Wonder Confronts Certainty: Russian Writers on the Timeless Questions and Why Their Answers Matter (Harvard University Press, 2023), Dr. Gary Saul Morson delineates intellectual debates that have coursed through two centuries of Russian writing, as the greatest thinkers of the empire and then the Soviet Union enchanted readers with their idealism, philosophical insight, and revolutionary fervor. Dr. Morson describes the Russian literary tradition as an argument between a radical intelligentsia that uncompromisingly followed ideology down the paths of revolution and violence, and writers who probed ever more deeply into the human condition. The debate concerned what Russians called “the accursed questions”: If there is no God, are good and evil merely human constructs? Should we look for life's essence in ordinary or extreme conditions? Are individual minds best understood in terms of an overarching theory or, as Tolstoy thought, by tracing the “tiny alternations of consciousness”? Exploring apologia for bloodshed, Dr. Morson adapts Mikhail Bakhtin's concept of the non-alibi—the idea that one cannot escape or displace responsibility for one's actions. And, throughout, Dr. Morson isolates a characteristic theme of Russian culture: how the aspiration to relieve profound suffering can lead to either heartfelt empathy or bloodthirsty tyranny. What emerges is a contest between unyielding dogmatism and open-minded dialogue, between heady certainty and a humble sense of wonder at the world's elusive complexity—a thought-provoking journey into inescapable questions. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

A noted literary scholar traverses the Russian canon, exploring how realists, idealists, and revolutionaries debated good and evil, moral responsibility, and freedom. Since the age of Tolstoy, Dostoevsky, and Chekhov, Russian literature has posed questions about good and evil, moral responsibility, and human freedom with a clarity and intensity found nowhere else. In Wonder Confronts Certainty: Russian Writers on the Timeless Questions and Why Their Answers Matter (Harvard University Press, 2023), Dr. Gary Saul Morson delineates intellectual debates that have coursed through two centuries of Russian writing, as the greatest thinkers of the empire and then the Soviet Union enchanted readers with their idealism, philosophical insight, and revolutionary fervor. Dr. Morson describes the Russian literary tradition as an argument between a radical intelligentsia that uncompromisingly followed ideology down the paths of revolution and violence, and writers who probed ever more deeply into the human condition. The debate concerned what Russians called “the accursed questions”: If there is no God, are good and evil merely human constructs? Should we look for life's essence in ordinary or extreme conditions? Are individual minds best understood in terms of an overarching theory or, as Tolstoy thought, by tracing the “tiny alternations of consciousness”? Exploring apologia for bloodshed, Dr. Morson adapts Mikhail Bakhtin's concept of the non-alibi—the idea that one cannot escape or displace responsibility for one's actions. And, throughout, Dr. Morson isolates a characteristic theme of Russian culture: how the aspiration to relieve profound suffering can lead to either heartfelt empathy or bloodthirsty tyranny. What emerges is a contest between unyielding dogmatism and open-minded dialogue, between heady certainty and a humble sense of wonder at the world's elusive complexity—a thought-provoking journey into inescapable questions. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies

A noted literary scholar traverses the Russian canon, exploring how realists, idealists, and revolutionaries debated good and evil, moral responsibility, and freedom. Since the age of Tolstoy, Dostoevsky, and Chekhov, Russian literature has posed questions about good and evil, moral responsibility, and human freedom with a clarity and intensity found nowhere else. In Wonder Confronts Certainty: Russian Writers on the Timeless Questions and Why Their Answers Matter (Harvard University Press, 2023), Dr. Gary Saul Morson delineates intellectual debates that have coursed through two centuries of Russian writing, as the greatest thinkers of the empire and then the Soviet Union enchanted readers with their idealism, philosophical insight, and revolutionary fervor. Dr. Morson describes the Russian literary tradition as an argument between a radical intelligentsia that uncompromisingly followed ideology down the paths of revolution and violence, and writers who probed ever more deeply into the human condition. The debate concerned what Russians called “the accursed questions”: If there is no God, are good and evil merely human constructs? Should we look for life's essence in ordinary or extreme conditions? Are individual minds best understood in terms of an overarching theory or, as Tolstoy thought, by tracing the “tiny alternations of consciousness”? Exploring apologia for bloodshed, Dr. Morson adapts Mikhail Bakhtin's concept of the non-alibi—the idea that one cannot escape or displace responsibility for one's actions. And, throughout, Dr. Morson isolates a characteristic theme of Russian culture: how the aspiration to relieve profound suffering can lead to either heartfelt empathy or bloodthirsty tyranny. What emerges is a contest between unyielding dogmatism and open-minded dialogue, between heady certainty and a humble sense of wonder at the world's elusive complexity—a thought-provoking journey into inescapable questions. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

A noted literary scholar traverses the Russian canon, exploring how realists, idealists, and revolutionaries debated good and evil, moral responsibility, and freedom. Since the age of Tolstoy, Dostoevsky, and Chekhov, Russian literature has posed questions about good and evil, moral responsibility, and human freedom with a clarity and intensity found nowhere else. In Wonder Confronts Certainty: Russian Writers on the Timeless Questions and Why Their Answers Matter (Harvard University Press, 2023), Dr. Gary Saul Morson delineates intellectual debates that have coursed through two centuries of Russian writing, as the greatest thinkers of the empire and then the Soviet Union enchanted readers with their idealism, philosophical insight, and revolutionary fervor. Dr. Morson describes the Russian literary tradition as an argument between a radical intelligentsia that uncompromisingly followed ideology down the paths of revolution and violence, and writers who probed ever more deeply into the human condition. The debate concerned what Russians called “the accursed questions”: If there is no God, are good and evil merely human constructs? Should we look for life's essence in ordinary or extreme conditions? Are individual minds best understood in terms of an overarching theory or, as Tolstoy thought, by tracing the “tiny alternations of consciousness”? Exploring apologia for bloodshed, Dr. Morson adapts Mikhail Bakhtin's concept of the non-alibi—the idea that one cannot escape or displace responsibility for one's actions. And, throughout, Dr. Morson isolates a characteristic theme of Russian culture: how the aspiration to relieve profound suffering can lead to either heartfelt empathy or bloodthirsty tyranny. What emerges is a contest between unyielding dogmatism and open-minded dialogue, between heady certainty and a humble sense of wonder at the world's elusive complexity—a thought-provoking journey into inescapable questions. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/eastern-european-studies

From Shakespeare to RuPaul, we all love a performance. But what exactly is it? What are its boundaries, its powers, its potential, its stakes? Kareem Khubchandani, who also performs as LaWhore Vagistan – “everyone's favourite desi drag queen aunty” – joins Uncommon Sense to unpack the latest thinking on refusal, repetition and more. And to discuss “Ishtyle”, Kareem's ethnography of gay Indian nightlife in Chicago and Bangalore, which attends to desire and fun in the lives of global Indian workers too often stereotyped as cogs in the wheels of globalisation.Kareem also reflects on the particular value of queer nightlife, and celebrates how drag kings skilfully unmask what might be the ultimate performance: heteromasculinity. We also ask: what do thinkers like Bourdieu and Foucault reveal about performance? Why is there still a way to go in our understanding of drag and how might decolonising it serve us all? Plus: why calling something “performative” is actually not about calling things “fake”? In fact, performance can make things “real”…With reflection on Judith Butler, “Paris is Burning”, “RuPaul's Drag Race” and clubbing in Sydney and Tokyo.Guest: Kareem KhubchandaniHosts: Rosie Hancock, Alexis Hieu TruongExecutive Producer: Alice BlochSound Engineer: David CracklesMusic: Joe GardnerArtwork: Erin AnikerFind more about Uncommon Sense at The Sociological Review.Episode ResourcesFrom The Sociological ReviewAdvantages of upper-class backgrounds: Forms of capital, school cultures and educational performance – Vegard Jarness, Thea Bertnes Strømme‘You've Gotta Learn how to Play the Game': Homeless Women's Use of Gender Performance as a Tool for Preventing Victimization – Laura Huey, Eric BerndtPerforming the Disabled Body in Academia – Luke WalkerBy Kareem KhubchandaniIshtyleDecolonize DragQueer Nightlife (co-edited with Kemi Adeyemi and Ramón Rivera-Servera)Dance Floor DivasKareem's website, including more about LaWhore VagistanFurther reading and viewing“Introduction to Performing Refusal/Refusing to Perform” – Lilian G. Mengesha, Lakshmi Padmanabhan“Everynight Life” – Celeste Fraser Delgado, José Esteban Muñoz (editors)“Cruising Utopia” – José Esteban Muñoz“Gender Trouble” – Judith Butler“Camera Lucida” – Roland Barthes“Paris is Burning” (film) – Jennie LivingstoneRead more about the work of Dhiren Borisa, Saidiya V Hartman, D. Soyini Madison and Joshua Chambers-Letson; as well as Pierre Bourdieu, Erving Goffman, Mikhail Bakhtin and Michel Foucault.

Para o episódio #79 do Coemergência, o querido Alex Terzi falou sobre como as práticas meditativas podem favorecer uma educação libertadora. Já desde o início pode ser útil demarcar no que isto não consiste: uma apologia neoliberal de docilização socioemocional entendida em termos individualistas; nem um conjunto de práticas místicas ou alheias à educação de algum forma. Há uma enorme importância de educarmos nossas crianças e adolescentes na familiaridade com o que poderíamos chamar de seu mundo interno e propiciarmos o cultivo do que o nosso convidado chama de estados mentais positivos. Talvez tanto quanto a higiene ou a alfabetização em outros momentos, algo que envolve uma dimensão fundamental de nossa existência talvez ainda aguarde para chegar a um número muito maior de pessoas como algo inteiramente natural e não polêmico, religioso ou místico. O Alex Terzi é professor do Instituto Federal de do Sudeste de Minas Gerais, instrutor de Mindfulness e de Kindfulness, e tem uma longa carreira de ensino e pesquisa na interface entre Linguística, Educação e práticas meditativas. Na entrevista, falamos das potencialidades e dos desafios ligados à inserção da meditação no campo educacional, inclusive para professores; a inovação com um potencial imenso proposta por pesquisadores como o Terzi em seus protocolos, de inserir neles o diálogo entre os participantes; sua visão de que as práticas meditativas podem contribuir para, e dialogar com, a proposta educativa de Paulo Freire; dentre muitas outras coisas. Que esta conversa contribua muito para a sua reflexão e para sua ação!

In this episode of High Theory, Brian Fairley tells us about Polyphony, a concept from music that describes multiple melodic lines sounding at once. The many voices of polyphony have an ancient and colonial history, which has reappeared in some key reverberations in twentieth century criticism and theory. In the conversation, we discuss several texts, including Mikhail Bakhtin, Problems of Dostoevsky's Poetics (1929); James Clifford and George Marcus, Writing Culture The Poetics and Politics of Ethnography (UC Press, 1986); Edward Said, Culture and Imperialism (Knopf, 1993); and one of Kim's favorite scholarly books, Anna Tsing, The Mushroom at the End of the World (Princeton, 2021). Brian also discusses Denise Ferreira da Silva's work “On Difference Without Separability.” Brian Fairley received his PhD in Ethnomusicology from New York University in 2023; he is currently a Visiting Scholar in the Department of Music at Amherst College.His manuscript in progress, Dissected Listening: Race, Nation, and Polyphony in the South Caucasus, excavates a series of experimental sound recordings from 1916 to 1966 to show how the concept of musical polyphony emerged in tandem with techniques of multichannel sound and imperial discourses of racial, national, and religious difference. His work has appeared in the journal Ethnomusicology and is forthcoming in Theoria: Historical Aspects of Music Theory, as well as an edited volume titled Key Terms in Music Theory for Antiracist Scholars. The image for this episode is Paul Klee's 1932 painting “Polyphony,” which is in the public domain in the US and Europe. Digital image sourced from Wikimedia Commons. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode of High Theory, Brian Fairley tells us about Polyphony, a concept from music that describes multiple melodic lines sounding at once. The many voices of polyphony have an ancient and colonial history, which has reappeared in some key reverberations in twentieth century criticism and theory. In the conversation, we discuss several texts, including Mikhail Bakhtin, Problems of Dostoevsky's Poetics (1929); James Clifford and George Marcus, Writing Culture The Poetics and Politics of Ethnography (UC Press, 1986); Edward Said, Culture and Imperialism (Knopf, 1993); and one of Kim's favorite scholarly books, Anna Tsing, The Mushroom at the End of the World (Princeton, 2021). Brian also discusses Denise Ferreira da Silva's work “On Difference Without Separability.” Brian Fairley received his PhD in Ethnomusicology from New York University in 2023; he is currently a Visiting Scholar in the Department of Music at Amherst College.His manuscript in progress, Dissected Listening: Race, Nation, and Polyphony in the South Caucasus, excavates a series of experimental sound recordings from 1916 to 1966 to show how the concept of musical polyphony emerged in tandem with techniques of multichannel sound and imperial discourses of racial, national, and religious difference. His work has appeared in the journal Ethnomusicology and is forthcoming in Theoria: Historical Aspects of Music Theory, as well as an edited volume titled Key Terms in Music Theory for Antiracist Scholars. The image for this episode is Paul Klee's 1932 painting “Polyphony,” which is in the public domain in the US and Europe. Digital image sourced from Wikimedia Commons. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of High Theory, Brian Fairley tells us about Polyphony, a concept from music that describes multiple melodic lines sounding at once. The many voices of polyphony have an ancient and colonial history, which has reappeared in some key reverberations in twentieth century criticism and theory. In the conversation, we discuss several texts, including Mikhail Bakhtin, Problems of Dostoevsky's Poetics (1929); James Clifford and George Marcus, Writing Culture The Poetics and Politics of Ethnography (UC Press, 1986); Edward Said, Culture and Imperialism (Knopf, 1993); and one of Kim's favorite scholarly books, Anna Tsing, The Mushroom at the End of the World (Princeton, 2021). Brian also discusses Denise Ferreira da Silva's work “On Difference Without Separability.” Brian Fairley received his PhD in Ethnomusicology from New York University in 2023; he is currently a Visiting Scholar in the Department of Music at Amherst College.His manuscript in progress, Dissected Listening: Race, Nation, and Polyphony in the South Caucasus, excavates a series of experimental sound recordings from 1916 to 1966 to show how the concept of musical polyphony emerged in tandem with techniques of multichannel sound and imperial discourses of racial, national, and religious difference. His work has appeared in the journal Ethnomusicology and is forthcoming in Theoria: Historical Aspects of Music Theory, as well as an edited volume titled Key Terms in Music Theory for Antiracist Scholars. The image for this episode is Paul Klee's 1932 painting “Polyphony,” which is in the public domain in the US and Europe. Digital image sourced from Wikimedia Commons. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In this episode of High Theory, Brian Fairley tells us about Polyphony, a concept from music that describes multiple melodic lines sounding at once. The many voices of polyphony have an ancient and colonial history, which has reappeared in some key reverberations in twentieth century criticism and theory. In the conversation, we discuss several texts, including Mikhail Bakhtin, Problems of Dostoevsky's Poetics (1929); James Clifford and George Marcus, Writing Culture The Poetics and Politics of Ethnography (UC Press, 1986); Edward Said, Culture and Imperialism (Knopf, 1993); and one of Kim's favorite scholarly books, Anna Tsing, The Mushroom at the End of the World (Princeton, 2021). Brian also discusses Denise Ferreira da Silva's work “On Difference Without Separability.” Brian Fairley received his PhD in Ethnomusicology from New York University in 2023; he is currently a Visiting Scholar in the Department of Music at Amherst College.His manuscript in progress, Dissected Listening: Race, Nation, and Polyphony in the South Caucasus, excavates a series of experimental sound recordings from 1916 to 1966 to show how the concept of musical polyphony emerged in tandem with techniques of multichannel sound and imperial discourses of racial, national, and religious difference. His work has appeared in the journal Ethnomusicology and is forthcoming in Theoria: Historical Aspects of Music Theory, as well as an edited volume titled Key Terms in Music Theory for Antiracist Scholars. The image for this episode is Paul Klee's 1932 painting “Polyphony,” which is in the public domain in the US and Europe. Digital image sourced from Wikimedia Commons. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

The hits keep coming at the History of Literature Podcast! In this episode, Jacke follows up on last week's episode on Crime and Punishment with a look at the short story that literary critic Mikhail Bakhtin called "practically a complete encyclopedia of Dostoevsky's most important themes." (Don't worry if you haven't read "The Dream of a Ridiculous Man" before - we read the short story as part of the episode.) Help support the show at patreon.com/literature or historyofliterature.com/donate. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at www.thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

Neste episódio do Podcast do PublishNews, conversamos um inquieto livreiro: José Luiz Tahan. Sua trajetória profissional, porém, não para por aí: Tahan também é editor e idealizador da Tarrafa Literário, encontro literário realizado anualmente em sua cidade natal, Santos, no litoral paulista. Na conversa, Tahan fala sobre diversos aspectos da vida de livreiro, resultado das suas décadas com a Livraria Realejo – lutando em um mundo que tem o livreiro independente quase como uma impossibilidade comercial, mas que teimosamente insiste nesta sua profissão incidental. Ele dá dicas do que considera um bom livreiro, resgatando uma máxima de um amigo: um dos prazeres de uma boa livraria é achar aqueles livros que você nem gostaria de ter achado. Tahan lança agora "Um intrépido livreiro nos trópicos" (Vento Leste Editora), livro que reúne crônicas e relatos sobre sua trajetória profissional, inclusive com textos publicados originalmente no PublishNews. Este podcast é um oferecimento da MVB Brasil, empresa que traz soluções em tecnologia para o mercado do livro. Além da Metabooks, reconhecida plataforma de metadados, a MVB oferece para o mercado brasileiro o único serviço de EDI exclusivo para o negócio do livro. Com a Pubnet, o seu processo de pedidos ganha mais eficiência. https://brasil.mvb-online.com/home Já ouviu falar em POD, impressão sob demanda? Nossos parceiros da UmLivro são referência dessa tecnologia no Brasil, que permite vender primeiro e imprimir depois; reduzindo custos com estoque, armazenamento e distribuição. Com o POD da UmLivro, você disponibiliza 100% do seu catálogo sem perder nenhuma venda. http://umlivro.com.br e também com o apoio da CBL A Câmara Brasileira do Livro representa editores, livreiros, distribuidores e demais profissionais do setor e atua para promover o acesso ao livro e a democratização da leitura no Brasil. É a Agência Brasileira do ISBN e possui uma plataforma digital que oferece serviços como: ISBN, Código de Barras, Ficha Catalográfica, Registro de Direito Autoral e Carta de Exclusividade. https://cbl.org.br Este é o episódio número 272 do Podcast do PublishNews do dia 12 de junho de 2023 gravado no dia 2. Eu sou Fabio Uehara e esse episódio conta com a participação de Guilherme Sobota. E a edição de Fabio Uehara. E não se esqueça de assinar a nossa newsletter, nos seguir nas redes sociais: Instagram, Linkedin, YouTube, Facebook, Tiktok e Twitter. Todos os dias com novos conteúdos para você. E agora José Luiz Tahan Violeta - Alberto Martins - Editora 34 - https://www.editora34.com.br/detalhe.asp?id=1213&busca=violeta Contos completos - Virginia Woolf - https://www.editora34.com.br/detalhe.asp?id=1215 O autor e a personagem na atividade estética - Mikhail Bakhtin (https://www.editora34.com.br/detalhe.asp?id=1214) O tenente Quetange - Iuri Tyniánov (https://www.editora34.com.br/detalhe.asp?id=1217) Crônicas do livreiro - Martin Latham - Edições 70 (https://www.almedina.com.br/produto/cronicas-de-um-livreiro-11512) Paulo Mendes Campos - O amor acaba - Companhia das Letras (https://www.companhiadasletras.com.br/livro/9788535922400/o-amor-acaba) Luigi Pirandello - Um, nenhum e cem mil - Editora Nova Alexandria https://editoranovaalexandria.com.br/product/um-nenhum-e-cem-mil/ Sucession - HBO (https://www.hbomax.com/br/pt/series/urn:hbo:series:GWukCJAq-nIuHwwEAAAB4) A Maravilhosa Sra. Maisel - Prime Video https://www.primevideo.com/region/na/detail/0SKQT5MHXXQ50OZ9FXYRFVEQM7/ref=atv_sr_fle_c_Tn74RA_2_1_2 --- Send in a voice message: https://podcasters.spotify.com/pod/show/podcast-do-publishnews/message

Teddy Taptiklis is a researcher, facilitator, member of Enspiral, and founder of Between Us. Through his project Entangled Bodies, he has been researching the use of sound recordings to create a sense of relational awareness amongst groups. In 2019, he published the blog series Microattunement on Medium, building upon Richard Bartlett's Microsolidarity framework, a community-building practice with the objectives of creating structures for belonging and meaningful work. Though Richard wasn't able to join us for this recording, it is his voice you heard in Part 1 of this series. This episode is Part 3 of 3 of our conversation, where we explore the importance of the role of host and ritual, as well as the design of the physical space, for creating conditions for belonging, membership, and responsiveness to the needs of the group. Topics covered during the episode include:-Reimagining the role of hosting to share responsibilities with the group-Teddy's experiences at the Marae and what these practices can teach us about designing gatherings, meetings, and teams to be self-organizing-Jim Burklo's Musings: The Meaning of Membership-Designing spaces and rituals for inviting strangers to settle into an experience of belonging and membership where every role matters and where responsiveness to the needs of the room is possible-Richard Bartlett's tweets (@RichDecibels)-The crew as the appropriate size for minimizing panic, achieving enough comfort to maximize stretch-Exploring how Zoom can be used for ritual and for developing presence without the need for identity labels-Mikhail Bakhtin's theory of the utterance-Moving from appreciation and recognition to empathy with feedback-Inner Development GoalsTeddy shares his website (betweenus.net) for listeners to connect with him. You can also find his Microattunement blog series on Medium. Two books coming this year. Listen on Apple Podcasts or Spotify and let us know your thoughts on Twitter!

Will Beaman (@agoingaccount) inaugurates the first of a lecture series on the work and ideas of Mikhail Bakhtin. Drawing parallels with right wing attacks on contemporary drag performance and ballroom traditions, Will discusses Bakhtin's analysis of the Medieval carnival humor, its manifestation in Renaissance literature, and its unique aesthetics of what he terms “grotesque realism.” Quotations are drawn from the Introduction and first chapter of Bakhtin's text, Rabelais and His World (1965), with additional references made to Siegfried Kracauer's 1927 essay “The Mass Ornament” and Marx's Capital. Music: Music: “Lilac” from “This Would Be Funny If It Were Happening To Anyone But Me” EP by flirting.http://flirtingfullstop.bandcamp.comTwitter: @actualflirtingVisit our Patreon page here: https://www.patreon.com/MoLsuperstructure

This week, the performer and author Elizabeth Wilson speaks to Artemis from the offices of Yale University Press in Bedford Square. Elizabeth tells us about the early life of a remarkable pianist, Maria Yudina, who rose to fame in Stalin's Russia. Maria Yudina was born in 1899 to a Jewish family in Nevel, a small town which now sits close to Russia's border with Belarus. Legend has it that Maria was Stalin's favourite pianist. Those who have seen Armando Iannucci's satirical film The Death of Stalin may remember the opening scene in which a pianist is forced to repeat her live performance so that a recording can be made of it and sent to Stalin. As Elizabeth explains in her new biography of the musician, Playing with Fire, the provenance of this story and whether it is about Maria is unclear. However, there is no shortage of fascinating and true stories about Maria, as Elizabeth shows us in this conversation. Maria came of age as the February revolution broke out in St Petersburg, where she was studying music. She took part briefly – even accidentally firing a rifle through a ceiling – before being questioned by a teacher from the conservatoire where she was studying. For most of her life though, Maria wasn't a revolutionary but an intellectual. Her social circle was made up of the leading figures of Russia's intelligentsia, including Boris Pasternak, Pavel Florensky, and Mikhail Bakhtin.  In this episode we visit Maria in 1921, the year she graduated from the conservatoire and was appointed as a member of staff aged just 21. It was also a year in which the relationship between Russia's new revolutionary state and the country's artists and intellectuals felt uneasy and, at times, destructive.    Show notes: Scene One: Maria's graduation ceremony. Scene Two: Maria's debut performance in Petrograd, which coincides with the poet Alexander Blok's death and funeral.  Scene Three: The end of the civil war and the introduction of NEP. Memento: A chess set which shows pieces representing 2 sides of the Russian Civil War.   People/Social Presenter: Artemis Irvine Guest: Elizabeth Wilson Production: Maria Nolan Podcast partner: Ace Cultural Tours Theme music: ‘Love Token' from the album ‘This Is Us' By Slava and Leonard Grigoryan Follow us on Twitter: @tttpodcast_ Or on Facebook See where 1921 fits on our Timeline

È probabilmente, dopo Simone de Beauvoir, l'intellettuale donna più influente in Francia. Julia Kristeva, nata 70 anni fa in Bulgaria, si situa, con le sue ricerche e il suo approccio interdisciplinare nella grande tradizione intellettuale francese. Quando arriva in Francia all'inizio degli anni 60, Roland Barthes che diventerà presto il suo mentore, capisce subito che ha a che fare con una personalità straordinaria. Marxismo, psicanalisi, linguistica, semiotica, strutturalismo: gli anni 60 e 70 sono quelli dove le diverse discipline e le grandi correnti del pensiero si incontrano, si scontrano, dialogano, si respingono. Il mondo intellettuale è vivo, condiziona il dibattito pubblico. Parigi si conferma la capitale mondiale della cultura. La Kristeva conosce personalità del calibro di Mikhail Bakhtin, Jacques Lacan, Philippe Sollers (che diventerà suo marito), Claude Lévi-Strauss. Ascolta i maestri e poi fa la sua sintesi in una lunga serie di opere che trattano di linguistica, di letteratura, di psicanalisi, che ci raccontano del nostro rapporto con l'altro o dei mali dell'anima, che spiegano il “genio femminile”, che ripercorrono la vita di Santa Teresa, che si incuneano per snidarne i misteri, nel rapporto che abbiamo con il corpo, che analizzano il senso e il bisogno della rivolta nei testi Louis-Ferdinand Céline o Jean Paul Sartre. Julia Kristeva, si racconta ai microfoni di Rete Due in un incontro con Roberto Antonini che proponiamo in due puntate.

È probabilmente, dopo Simone de Beauvoir, l'intellettuale donna più influente in Francia. Julia Kristeva, nata 70 anni fa in Bulgaria, si situa, con le sue ricerche e il suo approccio interdisciplinare nella grande tradizione intellettuale francese. Quando arriva in Francia all'inizio degli anni 60, Roland Barthes che diventerà presto il suo mentore, capisce subito che ha a che fare con una personalità straordinaria. Marxismo, psicanalisi, linguistica, semiotica, strutturalismo: gli anni 60 e 70 sono quelli dove le diverse discipline e le grandi correnti del pensiero si incontrano, si scontrano, dialogano, si respingono. Il mondo intellettuale è vivo, condiziona il dibattito pubblico. Parigi si conferma la capitale mondiale della cultura. La Kristeva conosce personalità del calibro di Mikhail Bakhtin, Jacques Lacan, Philippe Sollers (che diventerà suo marito), Claude Lévi-Strauss. Ascolta i maestri e poi fa la sua sintesi in una lunga serie di opere che trattano di linguistica, di letteratura, di psicanalisi, che ci raccontano del nostro rapporto con l'altro o dei mali dell'anima, che spiegano il “genio femminile”, che ripercorrono la vita di Santa Teresa, che si incuneano per snidarne i misteri, nel rapporto che abbiamo con il corpo, che analizzano il senso e il bisogno della rivolta nei testi Louis-Ferdinand Céline o Jean Paul Sartre. Julia Kristeva, si racconta ai microfoni di Rete Due in un incontro con Roberto Antonini che proponiamo in due puntate.

Kim speaks with Amanda Caleb about Michel Foucault's concept of heterotopia. Amanda says that the classic definition of “heterotopia” is found in Foucault's article “Of Other Spaces: Utopias and Heterotopias” (Architecture /Mouvement/Continuité, October, 1984). She also mentions The Birth of the Clinic. In comparison to Foucault's heterotopia, we talk a bit about Mikhail Bakhtin's concepts of the carnivalesque and the chronotope. If you're interested in reading more about heterotopias, check out Amanda's article: “Contested Spaces: The Heterotopias of the Victorian Sickroom” in Humanities vol. 8 no. 2 (April 2019). Amanda is a professor of English and Medical and Health Humanities at Misericordia University. She also runs a super cool podcast called the Health Humanist. She was kind enough to interview me about a crazy 1978 medical satire called House of God back in November 2020. This week's image is Gustave Caillebotte's Les jardiners (1875). Below is a map of the “Gardens and Pleasure Grounds Baltimore Argyleshire” from The Art & Craft of Garden Making by Thomas Hayton Mawson (London : B.T. Batsford, 1900). We're feeling gardens this week. Music used in promotional material: ‘Floating Panther' by Outrun Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Kim speaks with Amanda Caleb about Michel Foucault's concept of heterotopia. Amanda says that the classic definition of “heterotopia” is found in Foucault's article “Of Other Spaces: Utopias and Heterotopias” (Architecture /Mouvement/Continuité, October, 1984). She also mentions The Birth of the Clinic. In comparison to Foucault's heterotopia, we talk a bit about Mikhail Bakhtin's concepts of the carnivalesque and the chronotope. If you're interested in reading more about heterotopias, check out Amanda's article: “Contested Spaces: The Heterotopias of the Victorian Sickroom” in Humanities vol. 8 no. 2 (April 2019). Amanda is a professor of English and Medical and Health Humanities at Misericordia University. She also runs a super cool podcast called the Health Humanist. She was kind enough to interview me about a crazy 1978 medical satire called House of God back in November 2020. This week's image is Gustave Caillebotte's Les jardiners (1875). Below is a map of the “Gardens and Pleasure Grounds Baltimore Argyleshire” from The Art & Craft of Garden Making by Thomas Hayton Mawson (London : B.T. Batsford, 1900). We're feeling gardens this week. Music used in promotional material: ‘Floating Panther' by Outrun Learn more about your ad choices. Visit megaphone.fm/adchoices

Kim speaks with Amanda Caleb about Michel Foucault's concept of heterotopia. Amanda says that the classic definition of “heterotopia” is found in Foucault's article “Of Other Spaces: Utopias and Heterotopias” (Architecture /Mouvement/Continuité, October, 1984). She also mentions The Birth of the Clinic. In comparison to Foucault's heterotopia, we talk a bit about Mikhail Bakhtin's concepts of the carnivalesque and the chronotope. If you're interested in reading more about heterotopias, check out Amanda's article: “Contested Spaces: The Heterotopias of the Victorian Sickroom” in Humanities vol. 8 no. 2 (April 2019). Amanda is a professor of English and Medical and Health Humanities at Misericordia University. She also runs a super cool podcast called the Health Humanist. She was kind enough to interview me about a crazy 1978 medical satire called House of God back in November 2020. This week's image is Gustave Caillebotte's Les jardiners (1875). Below is a map of the “Gardens and Pleasure Grounds Baltimore Argyleshire” from The Art & Craft of Garden Making by Thomas Hayton Mawson (London : B.T. Batsford, 1900). We're feeling gardens this week. Music used in promotional material: ‘Floating Panther' by Outrun Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Kim speaks with Amanda Caleb about Michel Foucault's concept of heterotopia. Amanda says that the classic definition of “heterotopia” is found in Foucault's article “Of Other Spaces: Utopias and Heterotopias” (Architecture /Mouvement/Continuité, October, 1984). She also mentions The Birth of the Clinic. In comparison to Foucault's heterotopia, we talk a bit about Mikhail Bakhtin's concepts of the carnivalesque and the chronotope. If you're interested in reading more about heterotopias, check out Amanda's article: “Contested Spaces: The Heterotopias of the Victorian Sickroom” in Humanities vol. 8 no. 2 (April 2019). Amanda is a professor of English and Medical and Health Humanities at Misericordia University. She also runs a super cool podcast called the Health Humanist. She was kind enough to interview me about a crazy 1978 medical satire called House of God back in November 2020. This week's image is Gustave Caillebotte's Les jardiners (1875). Below is a map of the “Gardens and Pleasure Grounds Baltimore Argyleshire” from The Art & Craft of Garden Making by Thomas Hayton Mawson (London : B.T. Batsford, 1900). We're feeling gardens this week. Music used in promotional material: ‘Floating Panther' by Outrun Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

This week I'm joined by Ken Hirschkop who is a professor of English Language and Literature at the University of Waterloo. In this episode we discuss the work of Mikhail Bakhtin, alongside discussions on Donald Davidson, language, empathy, communication and more... Ken's latest book on Bakhtin: https://www.amazon.co.uk/Cambridge-Introduction-Mikhail-Introductions-Literature/dp/1107521092/ref=sr_1_2?crid=M9EC7LRTT0D1&keywords=bahktin&qid=1647519516&sprefix=bahtin%2Caps%2C69&sr=8-2 --- Become part of the Hermitix community: Hermitix Twitter - https://twitter.com/Hermitixpodcast Support Hermitix: Hermitix Subscription - https://hermitix.net/subscribe/ Patreon - https://www.patreon.com/hermitix Donations: - https://www.paypal.me/hermitixpod Hermitix Merchandise - http://teespring.com/stores/hermitix-2 Bitcoin Donation Address: 3LAGEKBXEuE2pgc4oubExGTWtrKPuXDDLK Ethereum Donation Address: 0x31e2a4a31B8563B8d238eC086daE9B75a00D9E74

Conversamos com Igor Sacramento, professor da Escola de Comunicação da UFRJ e pesquisador da Fiocruz. Igor compartilha com a gente sobre quem foi o filósofo Mikhail Bakhtin, responsável por reformular os estudos no campo da linguagem, propondo uma visão mais ampla que inclui o sujeito e o contexto no cerne de seu pensamento. Bakhtin deu um passo importante ao incluir a estratificação social na linguagem e refletir sobre como esse processo se dá. Igor também compartilha as noções de polifonia e dialogismo propostas pelo filósofo e a ideia de "Lugar de Fala".

In this episode, Meredith King of the University of New Orleans joins me to discuss Mardi Gras. We begin with the liberatory possibility of historical carnivals, as drawn from the works of David Graeber and Mikhail Bakhtin, then examine all of the many ways that Mardi Gras does and doesn't provide a space for freedom and grassroots organization. As always, you can find me at https://my.captivate.fm/www.everydayanarchism.com (www.everydayanarchism.com).

Norwegian Music Therapist, Karette Stensæth joined me recently to talk about how she got into the field, current projects, what she hopes for the future of music therapy, as well as diving into philosophy, and the importance of the here and now.Dr. Karette Stensæth is Associate Professor in Music Therapy at the Norwegian Academy of Music, where she also works as the Director of CREMAH (Centre of Research in Music and Health). In addition to engaging in research, she's the author of the book Responsiveness in Music Therapy Improvisation: A Perspective Inspired by Mikhail Bakhtin, from Barcelona Publishers in 2017. To learn more about music therapy in the United States, click here.To learn more about music therapy in Europe, click here.To support CREATIVE PEACEMEAL PODCAST, or to check out the blog, merch, and more episodes, click HERE.Creative Peacemeal PodcastWebsite: https://tstakaishi.wixsite.com/musicIG @creative_peacemeal_podcastFB: https://m.facebook.com/creativepeacemealpod/

Preston Sprinkle (PhD) joins Tim and Rick to discuss what to do when you don't know what to do to foster healthy conversations on sexuality and gender and how to mix truth and love into these conversations. They discuss the importance of understanding "the already spokens," a phrase coined by Mikhail Bakhtin, a Russian philosopher and linguist, that refers to the social and personal histories, past hurts, and context embedded in every conversation. They also reflect on the need to resist cultural trends (i.e. social media) as our go-to for interacting with others before considering whether our communication as Christians is qualitatively different from the broader culture on issues around sexuality and gender.

Episode 2 is an exploration of Mikhail Bakhtin's concept of heteroglossia or dialogism and J.L. Austin's concept of performative utterances in relation to Taylor Swift's song "Love Story." Get in touch with comments, questions, or just to say hi at studiesintaylorswift@gmail.com. Music: "Happy Strummin" by Audionautix. Cover art by Finley Doyle. 

This episode we go old school, literally. We are joined by comic Mabel Slattery to discuss medieval comedy and Mikhail Bakhtin and his Carnival Theory, we get into some interesting ideas like Humour Theory, Robin Hood, Sumptuary Laws, Secular Lyrics of the XIVth and XVth Centuries, Richard Hill Commonplace Book, Chaucer's Knight Tale and just having a bit of craic!

Kim speaks with Amanda Caleb about Michel Foucault’s concept of heterotopia. Amanda says that the classic definition of “heterotopia” is found in Foucault’s article “Of Other Spaces: Utopias and Heterotopias” (Architecture /Mouvement/Continuité, October, 1984). She also mentions The Birth of the Clinic. In comparison to Foucault’s heterotopia, we talk a bit about Mikhail Bakhtin’s concepts […]

Warning: Explicit Conversations About Politics, Culture, & Sexuality   Happy Kink Month 2020! October is Kink Month, a.k.a., “Kinktober,” putting the horny into the Halloween season. With our featured guests—the amazing Merrick Deville, well-read “anarcho Antifa” socialist on the frontlines of Black Lives Matter protests who is also a proud, packing Texas sex worker, and the vivacious Mia Valencia, a vivacious MILF into some very distinctive fetishes—we get pretty kinky on this show. Actually, we get pretty kinky on every show; but it's the first 2020 show of Kink Month, so we call it out for what it is.   We also get into the news: Trump's COVITA Striptease and Fetal Tissue Treatment, Handmaid Amy's Super Spreader, the fly on Pence's hoary head, Jerry Falwell, Jr.'s cuckold fetish, Brad Parscale's incel outburst and more. Then we get kinky and sexy—oral pleasuring, porn, the politics of protest, Mikhail Bakhtin and guns with Merrick Deville (I don't like the guns, but at least, she says she'd never shoot a living creature), and foot fetish, stretch marks, husbands, BDSM and farting (yes, farting!) with “Fart Queen” Mia Valencia. All of us are witches, so we include our familiars, a tabby cat named Caesar for Merrick and our Pomeranian pup Chico for me and Mia's hubby for her. And we bring out the Halloween Kinktober TRUMPKIN which I penetrate with My Magic Dildonic Vibrating Broom!   It's my 23rd Bedside Chat of the Coronapocalypse, inspired by FDR's legendary Fireside Chats, here to comfort, inform, amuse, eroticize and incite you to seize the day, in a Bonobo Way. And in a kinky way! We play a few clips of Merrick and Mia that we can't show you on Youtube, but you can see it all uncensored and free on DrSuzy.Tv plus read the sapiosexual show journal: https://drsusanblock .com/protest-kink   Need to talk PRIVATELY about kink, politics, fetishes or anything else that you can't talk about with anyone else? You can talk with me or one of our other Therapists Without Borders at the Dr. Susan Block Institute anytime. Call 213-291-9497. We're here for you.

Democrats fail us yet again, Lin Manuel Miranda does an awful bit about the holocaust, and it has been decided that eBussy is what we’ve always wanted. The institution of laughter that does not laugh will never prevail!

From Monteverdi to Monty Python, cross-dressing, gross-out humour and a preoccupation with the grotesque seems to offer a release from the constrictions of moral codes and social conventions. A familiar face on the Opera North stage, tenor Daniel Norman takes a trip into transgression in the company of Alan O'Leary, Professor of Film and Cultural Studies at the University of Leeds. Drawing on the theories of philosopher and critic Mikhail Bakhtin, they discuss “the licence to misbehave” in opera, film and performance; the liberating effect of the Carnivalesque in the arts; and its unforeseen consequences. Warning: this podcast features frank discussion of bodily functions! Produced as part of the DARE partnership between Opera North and the University of Leeds

 This week on The Spectator Film Podcast… The Human Centipede (First Sequence) (2009) 4.17.20 Featuring: Austin, Maxx Commentary track begins at 11:41 — Notes — The Penguin Dictionary of Literary Terms & Literary Theory by J. A. Cuddon — This book’s a very helpful resource for grappling with the otherwise challenging or inscrutable terminology frequently encountered in academic writing. I’m linking to the 5th Edition, which also credits M. A. R. Habib, although I used to 4th Edition for the definition of diachronic/synchronic I’m including below: “A term coined c. 1913 by Ferdinand de Saussure (1857-1913). A diachronic approach to the study of language (or languages) involves an examination of its origins, development, history and change. In contrast, the synchronic approach entails the study of a linguistic system in a particular state, without reference to time. The importance of a synchronic approach to an understanding of language lies in the fact that for Saussure each sign has not properties other than the specific relational ones which define it within its own synchronic system.” “Eat Shit and Die: Coprophagia and Fimetic Force in Tom Six’s The Human Centipede (First Sequence) and The Human Centipede II (Full Sequence)” by Dolores B. Phillips from The Projector — This essay by Dolores B. Phillips provides lots of insightful analysis, examining the politics of coprophagia and how it’s been depicted on film. Additionally, this essay comes from The Projector: A Journal on Film, Media, and Culture, which is completely open-access! This particular issue of The Projector focuses on the theme of food and consumption in horror cinema. We’ll include some insightful passages from Phillips’ essay below: “The Human Centipede's cult and commercial success suggest that it readmits excrementality—and that it is the epilogue of Laporte’s History of Shit, which tracks the return of excrement to the fields of cultural production. Excrement becomes capital, shit alchemically transformed into the coin of the realm. The films shift the register of excremental politics: much of its study (Warwick Anderson, Jed Esty, David Inglis, Achille Mbembe, George Bataille) concentrates upon the purgation, elimination, and celebration of shit. Indeed, excrement has a particularly potent political resonance in postcolonial fiction, where shitting in beds and leaving heaping mounds of filth in toilets is a particularly insulting intrusion into the homes of dispossessed middle class citizens and intellectuals whose lives are disrupted by political flux. Its ingestion adds a new dimension of cruelty and spite to images of effusive excretion and excessive consumption. As they avail themselves of an ironic posture toward recycling waste,images of coprophagy also align themselves with themes of decadence, humiliation, and hyper or mismanagement of the body.” “…a deconstruction of the conflicting social settings of the subject in an age of information oversaturation. Instead of a solitary figure bent over a keyboard or a mobile device, face illumined by a single screen into which she stares, rapt, substituting virtual interactions for real-life connections with others, and instead of the endless connectivity with others offered by social media and the instantaneousness of immersion in the internet, the HUMANCENTiPAD and Six’s precursor films offer an intermediary: the individual sutured to others, ingesting excrement and extruding it. The solitary netizen is revealed as a fiction—she reads and is read by others. She is bound to them by the streams of information into which she dives, searching for stimulation and novelty, impatiently demanding updates by obsessively and repeatedly pressing F5. This is because the viewer is as much a segment in the centipede as its victims” “Our own vertiginous enjoyment of the film’s horrors highlight the absurd, disturbing excess Gwendolyn Audrey Foster laments as she observes ‘the cyclical loop’ of ‘capitalism eating itself.’ She argues that television culture in the US disgorges its excess to feast upon it again in the forms of exploitative gluttony. She describes television as ‘coprophagic and cannibalistic in this way; TV is largely feces, our own regurgitated feces, which we ultimately pay to eat.’ Se notes that ‘shows such as Hoarders exploit and engage in coprophagia for better ratings, ultimately supporting gluttonous capitalism.’ Tom Six’s films make this the literal foundation for their appeal, especially as they sink deep roots in other moments of coprophagy in film and internet culture” [The writing by Gwendolyn Audrey Foster referenced in this passage from “Capitalism Eats Itself: Gluttony and Coprophagia from Hoarders to La Grande Bouffe“] “Grotesque Realism and the Carnivalesque in Tom Six’s The Human Centipede (First Sequence) and The Human Centipede II Full Sequence” by Ellen N. Freeman from Monstrum — We didn’t make use of this essay to help frame our conversation of the film, but it remains an insightful read. Freeman examines The Human Centipede in light of Mikhail Bakhtin’s writing on the carnivalesque and grotesque in Rabelais. Furthermore, Monstrum is an awesome multilingual, peer-reviewed open-access journal on horror and you should absolutely check out the other essays and reviews, which include writing on The Texas Chainsaw Massacre (1974), Lucio Fulci, the occult in Hammer Studios Horror, Peeping Tom (1960). — Listener Picks — Do you want to pick a movie for us to discuss on the show? Here’s how: Make a donation of $20 or more to ofwemergencyfund.org Check your email for a donation receipt, and send a screenshot of your donation to austin@spectatorfilmpodcast.com or @spectatorfilmpodcast on Instagram In your email or DM, include 1.) your name 2.) the movie you’d like discussed on the show and 3.) a brief overview of your thoughts on the movie That’s it! Don’t pick Satantango or Shoah!

This week, Johnny and Paul offer a perspective and critiques of the “Dawn of X” mutant titles from Marvel, drawing on theory of the “literary carnivalesque” from Mikhail Bakhtin to describe what’s  intriguing about the X-books in the wake of Jonathan Hickman’s House of X/Powers of X relaunch. Our discussion then touches on all the […]

This is Episode 74 of the State of the Theory Podcast. Politics. Power. Popular Culture. And other stuff, probably. In this series, we’re like super nerdy philosophical DJs: mashing up Serious Academic Questions with the most topical news and trends in pop culture. Each week, we’ll tackle a new topic and collide it with ‘critical theory’ (we’re pretty loose with our definitions, though, so expect the unexpected). Our aim is to destroy the stuff we know, explore the stuff we don’t and unsettle everything we think we know about the world. We take the obvious, the commonsensical, the certain, and then we rip it all to shreds. We are your theory doctors and we are always on call. In the middle of the possible impeachment of Donald Trump, Penguin Random House has released the nine-page letter from the anonymous CIA whistleblower as an audio book, which you can listen to hear (https://soundcloud.com/penguin-audio/the-whistle-blower-complaint-released-by-the-house-intelligence-committee-9262019) This got us thinking about the importance of ritualised performance in our democracy. We talk about the performance of the Chilcot Report in Edinburgh in August 2016 (https://www.theguardian.com/stage/2016/aug/09/comedians-begin-edinburgh-recital-of-chilcot-report-iraq-out-and-loud) and the dramatization of the Muller report (https://www.newyorker.com/magazine/2019/07/08/its-the-end-of-my-presidency-movie-stars-channel-mueller) We use J.L. Austin, Mikhail Bakhtin and Victor Turner to think about the importance of performance, and its connection to our body politic. Our theme music is "The Face of God" by The Agrarians (http://freemusicarchive.org/music/The_Agrarians/The_Jovial_Shepherd/The_Face_of_God) State of the Theory is brought to you by Hannah Fitzpatrick (@drhfitz) and Anindya Raychaudhuri (@DrAnindyaR) Find us on Facebook (www.facebook.com/stateofthetheorypodcast) or Tweet us @TheoryDoctors

All the world’s a stage – one of Shakespeare’s more famous sayings, and perhaps now almost a cliché. However, Helen Clifford uses the work of Russian literary theorist Mikhail Bakhtin to cast a new light on how Shakespeare’s stage and language are indeed bounded to coordinates in the world. His metaphors often ask us to imaginatively look up or down to heaven or hell, and to visualise where different symbolic spaces might exist in the actual theatre – something that different venues and theatre companies have exploited over the centuries. For more details, visit https://wp.me/p2iX9Z-7y0

A conversation with David Crawley on the intersection of counseling and spiritual direction through the lens of narrative therapy and Mikhail Bakhtin’s work and dialogic interaction. For more on David, links from the conversation, and the APA citation for this episode visit https://wp.me/p7R6fn-HZ.

On our last episode, Professor John Oddo cited Russian literary theorist Mikhail Bakhtin in asserting: “When you speak you do not break the eternal silence of the universe. You are not the biblical Adam who is naming and categorizing reality in the virgin world. You are always taking words that taste of prior contexts.”This approach to language as dialogical is the subject of today's re:blurb. We break down what dialogicality means, how it's distinct from other theories of language, and how we can use it to productively analyze texts for their incorporation and reshaping of other voices, as well as the confidence of their claims.We offer an analysis of a strikingly dialogical political event: legendary actor-director (and proud conservative) Clint Eastwood's speech at the 2012 Republican National Convention. In the speech, Eastwood constructs a dialogue with an empty chair intended to represent then-President Barack Obama. Eastwood's usage of quotes, references, modality, bare assertions, and assumptions all suggest that he was supremely confident in his definition of the problem in America in 2012 -- Obama-style liberalism -- but remarkably reluctant about Mitt Romney as a particular solution. As we argue, this may have influenced conservative rhetoric up to the present day.Text Analyzed:Transcript: Clint Eastwood's Convention RemarksWorks / Concepts Referenced in This Episode:De Saussure, F. (1989). Cours de linguistique générale: Édition critique (Vol. 1). Otto Harrassowitz Verlag.Bakhtin, M. (1934). Discourse in the Novel. Literary theory: An anthology, 2, 674-685.Fairclough, N. (2003). Analysing discourse: Textual analysis for social research. Psychology Press.Eastwood, C. (1983). Sudden Impact. Warner Bros. [“Make My Day” scene.]

Bakhtinian notions which could serve as great inspiration for visual art include his sense of the living fluidity of expression; his concepts of heteroglossia, polyphonic form, and dialogic form; his insight that these may engender the liberation of alternative voices; and his presentation of the carnival as a suggestive metaphor.

Carnival of Carnage by Insane Clown Posse. Well, here we are… the first Insane Clown Posse album! It’s… not great. We have a hard time maintaining enthusiasm (or staying awake) through the sheer misogyny and arrhythmic rapping.  There are a few bright(er) spots, but overall, we’re left wondering: did we make a mistake in picking ICP? Also, will Cameron quit the podcast because Nathan used the word "Crasscinating" for the title of this episode? Learnin’ Links Leck mich im Arsch—which Nathan almost got the title of right ICP Andy Kaufman, famed wrestler Tracie Morris Mikhail Bakhtin Ship of Theseus The Wiz MKUltra You can support us in several ways: Kick us a few bux on Patreon! By becoming a supporting member, you'll gain access to special bonus episodes! Buy T-shirts, sweatshirts, and more at our merch page!

Dana sits down with Francesca Granata to talk about her book Experimental Fashion: Performance Art, Carnival and the Grotesque Body. They discuss designers like Rei Kawakubo of Comme des, Garçons, unpack Mikhail Bakhtin's theory on the grotesque, and analyze Leigh Bowery's and Lady Gaga's unique costumes. Currently, Granta is the Director of the MA Fashion Studies and Assistant Professor in the School of Art and Design History and Theory at Parsons School of Design.  You can find Experimental Fashion: Performance Art, Carnival and the Grotesque Body wherever books are sold.  Visit us below for images and fashion: www.unravelpodcast.com Instagram: @unravelpodcast Twitter: @unravelpodcast Facebook: www.facebook.com/unravelpodcast/

Greetings, Pushkin! Stalinist Cultural Politics and the Russian National Bard (University of Pittsburgh Press, 2016) by Jonathan Brooks Platt explores the national celebrations around the centennial anniversary of Pushkin’s death in 1937. Platt structures his book around the dichotomy of what he sees as two different approaches to temporalities and modernity: monumentalism and eschatology, which celebrate, respectively, the formative moments of cultural narratives as opposed to their ruptures and changes. This theoretical framework engages deeply with the work of such scholars as Mikhail Bakhtin, Susan Buck-Morss, Katerina Clark, and Boris Groys. Through the discussion of the planning and the execution of the jubilee celebration, Platt analyzes the pedagogical practices and the role of teaching of Pushkin at the time; the attitudes of Soviet intellectuals to the phenomenon of the national poet; and the way the life and death of Pushkin were re-imagined in contemporary visual arts, literature, and drama. The concluding chapter of the book traces the transformation of the figure of Pushkin, as well as the memory and legacy of the 1937 jubilee, throughout 20th-century Russian literature. A particularly remarkable aspect of Platt’s book is his decision not to inscribe the Pushkin jubilee celebrations in the historical context of the era of “ezhovshina” and Stalinist purges. Platt argues that the cultural development around the jubilee celebrations demonstrates that the temporal logic that arose in the Stalinist period, is much more complicated than usually believed, and that the jubilee case demonstrates how different perceptions of time and the project of modernity in general could co-exist side by side in Stalin’s time challenging, thus, our established notion and representations of this era. Olga Breininger is a PhD candidate in Slavic and Middle Eastern Studies at Harvard University. Her research interests include post-Soviet culture and geopolitics, with a special focus on Islam, nation-building, and energy politics. Olga is the author of the novel There Was No Adderall in the Soviet Union and columnist at Literatura. Learn more about your ad choices. Visit megaphone.fm/adchoices

Greetings, Pushkin! Stalinist Cultural Politics and the Russian National Bard (University of Pittsburgh Press, 2016) by Jonathan Brooks Platt explores the national celebrations around the centennial anniversary of Pushkin’s death in 1937. Platt structures his book around the dichotomy of what he sees as two different approaches to temporalities and modernity: monumentalism and eschatology, which celebrate, respectively, the formative moments of cultural narratives as opposed to their ruptures and changes. This theoretical framework engages deeply with the work of such scholars as Mikhail Bakhtin, Susan Buck-Morss, Katerina Clark, and Boris Groys. Through the discussion of the planning and the execution of the jubilee celebration, Platt analyzes the pedagogical practices and the role of teaching of Pushkin at the time; the attitudes of Soviet intellectuals to the phenomenon of the national poet; and the way the life and death of Pushkin were re-imagined in contemporary visual arts, literature, and drama. The concluding chapter of the book traces the transformation of the figure of Pushkin, as well as the memory and legacy of the 1937 jubilee, throughout 20th-century Russian literature. A particularly remarkable aspect of Platt’s book is his decision not to inscribe the Pushkin jubilee celebrations in the historical context of the era of “ezhovshina” and Stalinist purges. Platt argues that the cultural development around the jubilee celebrations demonstrates that the temporal logic that arose in the Stalinist period, is much more complicated than usually believed, and that the jubilee case demonstrates how different perceptions of time and the project of modernity in general could co-exist side by side in Stalin’s time challenging, thus, our established notion and representations of this era. Olga Breininger is a PhD candidate in Slavic and Middle Eastern Studies at Harvard University. Her research interests include post-Soviet culture and geopolitics, with a special focus on Islam, nation-building, and energy politics. Olga is the author of the novel There Was No Adderall in the Soviet Union and columnist at Literatura. Learn more about your ad choices. Visit megaphone.fm/adchoices

Greetings, Pushkin! Stalinist Cultural Politics and the Russian National Bard (University of Pittsburgh Press, 2016) by Jonathan Brooks Platt explores the national celebrations around the centennial anniversary of Pushkin’s death in 1937. Platt structures his book around the dichotomy of what he sees as two different approaches to temporalities and modernity: monumentalism and eschatology, which celebrate, respectively, the formative moments of cultural narratives as opposed to their ruptures and changes. This theoretical framework engages deeply with the work of such scholars as Mikhail Bakhtin, Susan Buck-Morss, Katerina Clark, and Boris Groys. Through the discussion of the planning and the execution of the jubilee celebration, Platt analyzes the pedagogical practices and the role of teaching of Pushkin at the time; the attitudes of Soviet intellectuals to the phenomenon of the national poet; and the way the life and death of Pushkin were re-imagined in contemporary visual arts, literature, and drama. The concluding chapter of the book traces the transformation of the figure of Pushkin, as well as the memory and legacy of the 1937 jubilee, throughout 20th-century Russian literature. A particularly remarkable aspect of Platt’s book is his decision not to inscribe the Pushkin jubilee celebrations in the historical context of the era of “ezhovshina” and Stalinist purges. Platt argues that the cultural development around the jubilee celebrations demonstrates that the temporal logic that arose in the Stalinist period, is much more complicated than usually believed, and that the jubilee case demonstrates how different perceptions of time and the project of modernity in general could co-exist side by side in Stalin’s time challenging, thus, our established notion and representations of this era. Olga Breininger is a PhD candidate in Slavic and Middle Eastern Studies at Harvard University. Her research interests include post-Soviet culture and geopolitics, with a special focus on Islam, nation-building, and energy politics. Olga is the author of the novel There Was No Adderall in the Soviet Union and columnist at Literatura. Learn more about your ad choices. Visit megaphone.fm/adchoices

Greetings, Pushkin! Stalinist Cultural Politics and the Russian National Bard (University of Pittsburgh Press, 2016) by Jonathan Brooks Platt explores the national celebrations around the centennial anniversary of Pushkin’s death in 1937. Platt structures his book around the dichotomy of what he sees as two different approaches to temporalities and modernity: monumentalism and eschatology, which celebrate, respectively, the formative moments of cultural narratives as opposed to their ruptures and changes. This theoretical framework engages deeply with the work of such scholars as Mikhail Bakhtin, Susan Buck-Morss, Katerina Clark, and Boris Groys. Through the discussion of the planning and the execution of the jubilee celebration, Platt analyzes the pedagogical practices and the role of teaching of Pushkin at the time; the attitudes of Soviet intellectuals to the phenomenon of the national poet; and the way the life and death of Pushkin were re-imagined in contemporary visual arts, literature, and drama. The concluding chapter of the book traces the transformation of the figure of Pushkin, as well as the memory and legacy of the 1937 jubilee, throughout 20th-century Russian literature. A particularly remarkable aspect of Platt’s book is his decision not to inscribe the Pushkin jubilee celebrations in the historical context of the era of “ezhovshina” and Stalinist purges. Platt argues that the cultural development around the jubilee celebrations demonstrates that the temporal logic that arose in the Stalinist period, is much more complicated than usually believed, and that the jubilee case demonstrates how different perceptions of time and the project of modernity in general could co-exist side by side in Stalin’s time challenging, thus, our established notion and representations of this era. Olga Breininger is a PhD candidate in Slavic and Middle Eastern Studies at Harvard University. Her research interests include post-Soviet culture and geopolitics, with a special focus on Islam, nation-building, and energy politics. Olga is the author of the novel There Was No Adderall in the Soviet Union and columnist at Literatura. Learn more about your ad choices. Visit megaphone.fm/adchoices

My two lectures offer a brief introduction to and overview of approaches to the technically-informed academic discussion of the novel as a literary form and address such questions as the varieties of narrating persona, narrative sequence, time, represented place, cultural coding, as well as ethical and political approaches to subject and theme. The brief lectures refer to a very wide array of critics and theorists of the novel including Mikhail Bakhtin, Wolfgang Iser, Gerard Genette, Roland Barthes, Jacques Derrida, Susan Sontag, Walter Benjamin, Michel Foucault and Gilles Deleuze and to a large number of fictional examples including Defoe, Sterne and Dickens, Jane Austen, George Eliot, Lewis Carroll, Bran Stoker, Virginia Woolf, James Joyce, Gustave Flaubert, Julio Cortazar, B.S. Johnson, J.G. Ballard, Kazuo Ishiguro, Martin Amis and Graham Swift.

My two lectures offer a brief introduction to and overview of approaches to the technically-informed academic discussion of the novel as a literary form and address such questions as the varieties of narrating persona, narrative sequence, time, represented place, cultural coding, as well as ethical and political approaches to subject and theme. The brief lectures refer to a very wide array of critics and theorists of the novel including Mikhail Bakhtin, Wolfgang Iser, Gerard Genette, Roland Barthes, Jacques Derrida, Susan Sontag, Walter Benjamin, Michel Foucault and Gilles Deleuze and to a large number of fictional examples including Defoe, Sterne and Dickens, Jane Austen, George Eliot, Lewis Carroll, Bran Stoker, Virginia Woolf, James Joyce, Gustave Flaubert, Julio Cortazar, B.S. Johnson, J.G. Ballard, Kazuo Ishiguro, Martin Amis and Graham Swift.

Tara and Mick talk about the new theorist that Mick may engage with or - as usual (!!!) - discard!  This week, Mikhail Bakhtin is proving more significant for Mick and his work on memes.  Mick's interest with 'voice' and 'resistance' may be finding some resonance in and with Russian Formalism...

My two lectures offer a brief introduction to and overview of approaches to the technically-informed academic discussion of the novel as a literary form and address such questions as the varieties of narrating persona, narrative sequence, time, represented place, cultural coding, as well as ethical and political approaches to subject and theme. The brief lectures refer to a very wide array of critics and theorists of the novel including Mikhail Bakhtin, Wolfgang Iser, Gerard Genette, Roland Barthes, Jacques Derrida, Susan Sontag, Walter Benjamin, Michel Foucault and Gilles Deleuze and to a large number of fictional examples including Defoe, Sterne and Dickens, Jane Austen, George Eliot, Lewis Carroll, Bran Stoker, Virginia Woolf, James Joyce, Gustave Flaubert, Julio Cortazar, B.S. Johnson, J.G. Ballard, Kazuo Ishiguro, Martin Amis and Graham Swift.

My two lectures offer a brief introduction to and overview of approaches to the technically-informed academic discussion of the novel as a literary form and address such questions as the varieties of narrating persona, narrative sequence, time, represented place, cultural coding, as well as ethical and political approaches to subject and theme. The brief lectures refer to a very wide array of critics and theorists of the novel including Mikhail Bakhtin, Wolfgang Iser, Gerard Genette, Roland Barthes, Jacques Derrida, Susan Sontag, Walter Benjamin, Michel Foucault and Gilles Deleuze and to a large number of fictional examples including Defoe, Sterne and Dickens, Jane Austen, George Eliot, Lewis Carroll, Bran Stoker, Virginia Woolf, James Joyce, Gustave Flaubert, Julio Cortazar, B.S. Johnson, J.G. Ballard, Kazuo Ishiguro, Martin Amis and Graham Swift.

In this first lecture on the theory of literature in social contexts, Professor Paul Fry examines the work of Mikhail Bakhtin and Hans Robert Jauss. The relation of their writing to formalist theory and the work of Barthes and Foucault is articulated. The dimensions of Bakhtin's heteroglossia, along with the idea of common language, are explored in detail through a close reading of the first sentence of Jane Austin's Pride and Prejudice. Jauss's study of the history of reception is explicated with reference to Borges' "Pierre Menard, Author of the Quixote" and the Broadway revival of Damn Yankees.

In this first lecture on the theory of literature in social contexts, Professor Paul Fry examines the work of Mikhail Bakhtin and Hans Robert Jauss. The relation of their writing to formalist theory and the work of Barthes and Foucault is articulated. The dimensions of Bakhtin's heteroglossia, along with the idea of common language, are explored in detail through a close reading of the first sentence of Jane Austin's Pride and Prejudice. Jauss's study of the history of reception is explicated with reference to Borges' "Pierre Menard, Author of the Quixote" and the Broadway revival of Damn Yankees.