<Статья/ Article>New novel-style by Dostoevsky, containing monological assertions without damaging the prevailing principle of “polyphony”: Bakhtin's philosophy of language is unable to explain four key characters forming their thoughts in “The Brothers Karamazov”

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  • <論文>モノローグ思想が包摂されている新しいポリフォニー形式 --バフチンのドストエフスキー論では説明できない『カラマーゾフの兄弟』--
  • モノローグ思想が包摂されている新しいポリフォニー形式 : バフチンのドストエフスキー論では説明できない『カラマーゾフの兄弟』
  • モノローグ シソウ ガ ホウセツ サレテ イル アタラシイ ポリフォニー ケイシキ : バフチン ノ ドストエフスキーロン デワ セツメイ デキナイ 『 カラマーゾフ ノ キョウダイ 』

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Abstract

Mikhail Bakhtin (1895-1975) calls multi-voiced reality of Dostoevsky's (1821-1881) novel “polyphony”: a plurality of independent and unmerged voices and consciousness, a genuine polyphony of fully valid voices. Bakhtin believes that “polyphony” principle prevails in Dostoevsky's novels without any exception and contends in “Problems of Dostoevsky's Creative Art” (1929) that new thoughts are never ever to be formed by key characters of Dostoevsky's novels because Bakhtin has not found any single key character forming his or her new thoughts through his scrutiny of all the Dostoevsky's texts. Problem exists in the fact that four characters are duly forming their thoughts in “The Brothers Karamazov”. Four characters consist of two Karamazov brothers (Mitya and Alyosha), Elder Zosima and his brother. Needless to say that two Karamazovs and Elder Zosima are thought to belong to the key characters in “The Brothers Karamazov”. It is really amazing that four key characters are forming one single thought in “The Brothers Karamazov”. Having come to know Zosima's, his brothers' and Alyosha's cases (Mitya's thought forming is missing in his explanation), Bakhtin tries to explain that all three cases has been stylized just as a “biography of a saint” and that no change is necessary as to the prevailing principle of “polyphony” structure of the novel, which is carefully being scrutinized in this book. There exists a good possibility that Dostoevsky has established a completely new novel-style in “The Brothers Karamazov” for the first time ever in all his works., which contains monological assertions of four key characters without damaging the prevailing principle of “polyphony” structure of the novel. In this paper, special attention is also being paid to if and where the Dostoevsky's monological assertions are written in “The Brothers Karamazov” and to which extent Dostoevsky's intention has won a success, keeping a good balance between monological assertions and the prevailing principle of “polyphony” structure of the novel.

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