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Ever since the reappearance of Bakhtin's Dostoevskii study in 1963,1 his concept of the "polyphonic novel" has been widely discussed and comment- ed on by other Dostoevskii scholars. By shifting the focus of attention from the ideological content of the novels to the ideology underlying their form, Bakhtin succeeded in turning the traditional co-philosophising with Dostoev- skii and his characters into a theoretical problem that could be analysed as an aspect of the dialogic structure of the novels. As Bakhtin sees it, Dostoevskii's novels are marked by a particular relationship between the author and his characters, the latter being regarded as individuals in their own rights, free and independent, on a par with the former. Together, they form a polyphony of equal and autonomous voices and consciousnesses, engaged in an open- ended ideological dialogue with each other, the author, and the readers. Although Bakhtin's theory has received wide acceptance in Dostoevskii criticism, there have always been some scholars who have rejected his inter- pretation of the novels by analogy with musical polyphony. The argument that ideas and ideologies acquire a poetic function and are transformed into images of ideas and ideologies when represented within the poetic universe of
Canadian-American Slavic Studies – Brill
Published: Jan 1, 1983
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