Chronotope and Environs
Festschrift for Nikolay Pankov
. . .
2011
80 83.0
94
: = Chronotope and Environs: Festschrift for Nikolay Pankov / .
. . . : , 2011. 388 .
, . , . . , .. 1992 .
80 83.0
, 2011 . . , , ISBN 978-5-9635-0312-6
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.. , . . , . , , , .
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Tabula gratulatoria
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: ( ). . 262, 268269; . ., . ., . . . : . 2- . , 1995. . 2123). 97
. . // . 1994. 4. . 114115. 92
, , , , . . , , (!) 1919 ., 98. 99. - , . . , . . , . , 10 (. :
I). , . , , : . , , , , . . , , 12 (. : II). : . . , , - ( , ) - (
) . 98 ., : : . . . 4; The annotated Bakhtin bibliography. P. 31.
99 .: . . . : . 5: 1940- 1960- . . . . . : . . (. 5). , , . (. .
1954. 12 .). (., : . . : : 2 . , 1992. . 1. . 1719) , ( . . // . .
1958. 18 .). 1952 . , . . , - (.: . . // . . : . . I. . 512; . ., .
., . . . . . 14 ). , , -, , . 1940- 1960- ,
93
, : - ; - , . . . . -, , , , ; : , - ( ), , , ; , . . , 100. . .
. . , . , , ... ( .) , .. , , , (. : III). , . . , , : , ( ). , , ,
: - , , , ; , . , . . 100 , . .: . . . . : // (19301950- ): . - . ,
2001. . 2022.
94
, 101. ( - , , .) -, : [] , , , . : , , , , , . . , , . , , 102.
. . 103: , , . . . , . . . . . 104. -, 1958 . , , : . . . . : . . .
- . ( , ); , . , , . 101 ., ., . // . . 1958. 12 . 102 . . . . .
112. , , , , ; . 103 . . .: : . . , 2001. . 4. . 9293. 104 .: . . :
. . // . . 1994. 2 . ( . . .)
95
( . . .), , , , . . ( ) . . . , , ..105, ; , . . : .., .., - ,
.. , - . , 106. , ( ) , , , (. : IV, V)107. 3. (, , , ) 1920- .
1999 . () : 108. (. . ). , , , - , . , , : 1924 1930. (, 1927; ,
1928; , 1929) , 105 . . (28. 10. 03), . . , . , , . . 106 . . . . (
). . 2000. 2. . 129130. 107 , , , , ; . 108 .: The Bakhtin Circle:
In the Masters Absence / Ed. by C. Brandist, D. Shepherd, G.
Tihanov. Manchester; N. Y: Manchester University Press, 2004.
96
. . . . , . . ..; . . , 109; : , , , 110; , , , , . . , , , , ,
, 111. , , 20 . , . , , , , .., - . . , . I . . . . II . . . .
III
. , , . , 109 .: . . : / . . . , . . , . . // . . : . . . . 376.
110 . (). : : (, 79 1999 ) / . . . . // . 2000. 2. . 157. 111 .:
Tihanov G. The Master and the Slave: Lukcs, Bakhtin, and the Ideas
of Their Time. Oxford: Clarendon Press, 2000. P. 8 (. ). . :
Brandist C. The Bakhtin Circle: Philosophy, Culture and Politics.
London, 2002. P. 89. 97
, . . . - . , , , . - , . , . : , - ( ), , , , , , . . . . ? , .
. . , . . . , , , . 1919 . , , . . , , . . . -, . , . , , , , . . .
! . , . . , , . , 98
, . , , . . . 19- , . 28 ( , , ), . - . . , , . . , . , , . . ,
, . , . , . ; , . , . . ( , ), . , . .. , , , . . . , . - . , , . ,
, . . , . . , , , . , , , , . , , . , -, , . ? ! , . , , . . : , .
. : 99
, . . , . , : ! . . , !. . , , , . , . . , . , , , . . , . ( ) -
, . , . , . ( . ). , . , , . . , . , , . , , . . , . . , . , . . .
, -. . , , 100
, , . , . . - . , . . , . . , . . . , - , . . (. . . ) , (. . ),
(. . ), (. . . ). . . - , - . . , , . , . . , . . , . IV. - , , , ,
- . . III - . , , . , , : , , , , , . . . 101
. . : , , ! ? ? , . , . , , : ! : . . . , , . , , . , . , , . ?
. ? . ! . : . . . , , . -- -. -, ? , , . . , . ? , . . , . , , , ?
. . , . ? ? ? , . .102
, , : . , . - . , , : . . , . . . , , . -: , , . -, -, , , ! , .
, , , , , : , , , , , , , - : . , . . . , ( ), . . , . . V : 26 . .
- . - - 103
. , , . , , . , , . . , . . , , ! , , , I . , . , , , , . , . .
. , , . , . , . (. . ) . . , , , . , . , . . . , , . . , , . , . ,
, , , (!) . , , , (, , ), , , . ? . . . , ( ), , . , .104
, , . . -. . , . . - , , . , , , - . . , , . , - , . , -
. . .
-. , , : . , , , 1. , , , . , , 1
. . ., 1979. C. 131 105
, 2. , , , , , . XXI , . , , , . , : , . . - , . . , --- , , . ,
? - . , . . , . , , . - . , . , . , . . , : , . . , , , . : , , 3.
, , 2 3
. C. 135137 . . 2- . .: , 1994. . 1. . 307 106
. : , , . , . , , . - . , . , , ? , , , , , ?4. , , . , . , ., ,
, . - . , . . , , . (. ) , . . , ( ), . . - , : . , , , 5. . , , .
- : , . - : 50
. . 2. . 19 107
, , . , . , 6. . . , , , 7. , - , -. , . , , , , , , , , . , , ,
, , , , , , , 8. . , - - -: , - . . : . , , - 9. - (, , ( , ), ( ,
), - ( . . . . 7 . ., . . 4(1) . . 734. . . . 2. . 18. 8 . 1112. 9
. . 20.6 7
108
), , . , . . ? , , . - : , . : -, , . , , , , , , . , . , , , :
, . , , , . - : , . ? - -. , , . , , . . , 10. , . , , . . : ,
10
. . 423 109
, . -: . , , . - - , , , , . a la . . , , . ; , . . , , . . : ,
, , - . , . , . , . . , , , . , , . , , , 11. , , , . , , , , , . ,
- (, ), 10
. . 423 110
. , . , . , , , 12. , , , 13. , , . , , - 14. !. : , , , 15. , ,
, , . , - . . , : , . ( ) ( ), . , . , . . , , , , . . . . . . . 7
. ., . . 4(1). . 744. . . . 439 14 . . // . 2008. 57. 15 . . . 447.
11112 13
, . , . , , 16. , 2030 (. 4). , : , , , , , ?17. , . . , , . , .
, . , . : , , 18. , , 19. : , modus vivendi . , - , , , , . : . , .
, - . . , , . . . . 453. . . 452. 18 . . . 454 19 . . . . 7 . ., .
. 4(1) . . 738 11216 17
Evgenia Ivanovna (). , , . . , , , , , 20. - , , .
Music, Answerability, and Interpretation in Bakhtins Circle:
reading together M.M.Bakhtin, I. I. Sollertinsky, and M. V.
YudinaR. S. CASSOTTI
Analysis of the artwork by members of the Bakhtin Circle is
turned to highlighting such aspects as artistic specificity and
historicity, answerability, otherness, dialogism1. Semiotics is an
area Bakhtin and the members of his Circle related to directly, as
well as the other human sciences, always present in the background,
though Bakhtin never employed the specific term semiotics. Instead,
he used the expression philosophy of the language also in the title
of a book of 1929, co-authored in collaboration with V. N.
Voloshinov and published under the latters name in order to
indicate his own research that unwinds in liminal spheres and on
the borders of all the disciplines that deal with languages and
signs, on their points of contact and intersection. Therefore, we
may assert with Augusto Ponzio2 that Bakhtin was interested in
semiotical issues from the per . . ., 1979. . 137. Cassotti, Rosa
Stella Il contributo di 'Dialog. Karnaval. Chronotop' allo studio
dell'opera di Bakhtin e del suo circolo, in Annali della Facolt di
Lingue e Letterature Straniere, terza serie / 20072008 / XIX,
Fasano, Schena, P. 195226. 2 Ponzio, Augusto; Calefato, Patrizia;
Petrilli, Susan (1994). Fondamenti di filosofia del linguaggio.
Rome-Bari: Laterza.20 1
113
spective of the philosophy of the language. Or we can observe,
with Umberto Eco, that general semiotics is philosophical by
nature3, and that both the special semiotics and the philosophy of
language are engaged in the search for the essential
characteristics of meaning, interpreting, communicating,
independently from the fact that such operations are expressed by
means of verbal or nonverbal signs. On the other hand, Bakhtins
sign theory is closely connected with literature not in the sense
that it is applied to literature, but that literature is its point
of view and, at the same time, his writings also reflect
philosophical problems of our time, exercising their influence on
an extremely wide field of disciplines, from history to philosophy,
psychology, pedagogy, anthropology, the arts. Bakhtins approach is
philosophical because it is conducted on the border of multiple and
complementary interests:Our analysis must be called philosophical
mainly because of what it is not: it is not a linguistic,
philological, literary, or any other special kind of analysis
(study). The advantages are these: our study will move in the
liminal spheres, that is, on the borders of all the aforementioned
disciplines, at their junctures and points of intersection4.
Among Bakhtins interlocutors and the members of his Circle, we
find not only poets, men of letters, philosophers and linguists,
but also scientists, biologists, painters, sculptors, musicians and
musicologists. The members of the group shared a passion for
philosophy and the debate of ideas, and they organized
philosophical evenings. The Circle of Nevel-Vitebsk-Leningrad
covered numerous spheres of interests and professions. The
musicologist Ivan Ivanovich Sollertinsky (19021944) was also
interested in literature and philosophy. During the 20s-30s, his
library included many books in philosophy in different languages,
including the classics of marxism-leninism, works by Kant, Hegel,
Schopenhauer, Nietzsche, Solovev etc. The pianist Marya
Veniaminovna Yudina (18991970) was also attracted by literature and
architecture, and she studied philosophical books by Vygotsky and
Florensky too. Analysis by Bakhtin, Sollertinsky, and Yudina of the
artwork is not limited by strictly literary or musicological
borders, but always leads into other fields and into the context of
the other arts: philosophy, painting, sculpture. Their method can
be defined as a detotalizing method5, which proceeds by breaking
the inner borders of the arts. For Yudina and Sollertinsky a
complete understanding of a musical work, for example, demands a
continuous shift outside music, towards literature, philosophy and
the other arts. In their writings, they often highlight the ties
between the musical and extra-musical world, the connections
between the artwork and external cultural universe. And, even if
Bakhtin focused his philosophical theories on literary creation and
on the verbal text, his concept of dialogism can be applied to any
artwork intended as a nonverbal text.Eco, Umberto (1984). Semiotica
e filosofia del linguaggio. Turin: Einaudi. Bakhtin, Mikhail M.
(1986). Speech Genres and Other Late Essays. Eng. trans. V. W.
McGee, eds. C. Emerson and M. Holquist. Austin: University of Texas
Press. 5 Petrilli, Susan; Ponzio, Augusto (2003). Semioetica. Rome:
Meltemi.3 4
114
In fact, in The Problem of the Text in Linguistics, Philology,
and the Human Sciences: An Experiment in Philosophical Analysis6,
Bakhtin affirms that the text is the primary given, the point of
departure7 for all human and philological sciences. He also
specifies that, if we mean text in a broad sense, as a coherent
complex of signs, then even the study of music deals with texts
(works of art):[...] The text is the unmediated reality [...], the
only one from which these disciplines and this thought can emerge.
[...] If the word text is understood in the broad sense as any
coherent complex of signs then even the study of art (the study of
music, the theory and history of fine arts) deals with texts (works
of art)8.
According to Bakhtin9, a text is always part of a textual chain
of a given sphere and reflects in itself other texts of that
sphere. There are dialogic relationships among texts and within the
text. Each text presupposes an intelligible (that is, conventional
within a specific community) system of signs, a language, even if a
language of art. If there is no language behind the text, it is not
a text, but a natural (not signifying) phenomenon10.
Therefore,behind each text stands a language system. Everything in
the text that is repeated and reproduced, everything repeatable and
reproducible [...] conforms to this language system. But at the
same time each text (as an utterance) is individual, unique, and
unrepeatable, and herein lies its entire significance11.
The sense of a text consists precisely in its uniqueness. This
singularity, uniqueness, then, is not bound to the repeatable
elements of the language system, but to other unrepeatable texts,
through dialogic relationships12. Two texts that enter in a
reciprocal contact in the field of a common theme or of a common
idea create, for Bakhtin, a dialogic relation13. Thus we can affirm
that musical compositional elements create dialogic relations
within a single musical composition as well within the entire
musical production of an epoch or of a style. In fact dialogic
relations are, according to Bakhtin, semantic relationships6
Bakhtin, Mikhail M. (1986). Speech Genres and Other Late Essays.
Eng. trans. V. W. McGee, eds. C.Emerson and M. Holquist. Austin:
University of Texas Press. 7 Ibidem 113. 8 Ibidem 103. 9 Ibidem
105. 10 Ibidem. 11 Ibidem. 12 Voloshinov, Valentin N. ; Bakhtin,
Mikhail M. (1999). Marxismo e filosofia del linguaggio [Marxism and
the Philosophy of Language]. It. trans. M. De Michiel, ed. A.
Ponzio. Lecce: Piero Manni. P. 225 233, Ponzio, Augusto (1992). Tra
semiotica e letteratura. Introduzione a M. Bachtin [Between
Semiotics and Literature. Introduction to M. Bakhtin]. Milan:
Bompiani; 2nd ed. 2003. P. 164167, Petrilli, Susan (1995). Che cosa
significa significare? [What Does It Mean to Mean?]. Bari: Edizioni
Dal Sud. P. 1373. On dialogism see. Also Petrilli, Susan (2001).
Basi per una semiotica dell'io [Bases for a Semiotics of the Self].
In: Th. A. Sebeok, S. Petrilli, A. Ponzio, Semiotica dell'io
[Semiotics of the Self]. 73135. Rome: Meltemi. P. 116127 13
Bakhtin, Mikhail M. (1986). Speech Genres and Other Late Essays.
Eng. trans. V. W. McGee, eds. C.Emerson and M. Holquist. Austin:
University of Texas Press. P. 115
115
between utterances, between elements of a work of art, or
between two or more works of art. Languages, dialects, and styles
can enter into this kind of relationships, that is they can speak
with one another14. Bakhtin underlines that dialogic boundaries
intersect the entire field of human thought (Ibidem: 120). A
relation with sense, with meaning, is always dialogic; even
understanding itself is dialogic15. Comprehension has in fact an
essentially responsive character, it is always a response;
therefore, comprehension of a text, of a work of art, is always in
someway dialogical, as a dialogue between two subjects, two
consciousnesses. In the case of a conscious plurality of styles in
a work of art, there are always dialogic relations among the
styles16. In From Notes Made in 19707117, according to this theory,
Bakhtin affirms that it is very difficult to understand a text, a
work of art, in the same way the author himself understood it or,
at least, it would require the use of an immense amount of
material18. Artistic creativity is largely unconscious and
polysemic. Through understanding [...] the multiplicity of its
meanings is revealed. Thus, understanding supplements the text: it
is active and also creative by nature19. Bakhtin distinguishes then
understanding as recognition and identification of repeatable
discourse elements from understanding as production of meaning
within unrepeatable texts. The exclusive orientation toward
recognizing, searching only for the familiar (that which has
already been), does not allow the new to reveal itself (i. e., the
fundamental, unrepeatable totality). Explanation and interpretation
are often reduced to the disclosure of the repeatable, to a
recognition of the already familiar, and, if the new is grasped at
all, it is only in an extremely impoverished and abstract form20.
Meanings are answers to questions, for Bakhtin. The meaning of a
work of art is potentially infinite, but it can actualize only
entering in contact with another meaning. We cannot find a unique
meaning, neither a first nor a last meaning: meaning always exists
among other meanings as a link in the chain of meaning []. In
historical life, this chain continues infinitely, and therefore
each individual link in it is renewed again and again, as though it
were being reborn21. Therefore, in Methodology for the Human
Sciences22 Bakhtin underlines that the analysis of a work of art
cannot be restricted only to one given text. Each sign of the text
exceeds its boundaries. Any understanding is a correlation of a
given text with other texts, dialogic correlation, and
reinterpretation in a new context. The dialogic movement of
understanding unwinds in two directions: from the point of
departure, the given text, a movement goes backward, to pastIbidem
P. 119. Ibidem P. 121. Ibidem P. 111112. 17 Bakhtin, Mikhail M.
(1986). Speech Genres and Other Late Essays. Eng. trans. V. W.
McGee, eds. C.Emerson and M. Holquist. Austin: University of Texas
Press. S. 132158. 18 Ibidem P. 144. 19 Ibidem P. 141142. 20 Ibidem
P. 142143. 21 Ibidem P. 145146. 22 Bakhtin, Mikhail M. (1986).
Speech Genres and Other Late Essays. Eng. trans. V. W. McGee, eds.
C.Emerson and M. Holquist. Austin: University of Texas Press. P.
159172.14 15 16
116
contexts, and a movement forward, to the beginning of a future
context23. The text we can add: literary or musical lives only by
coming into contact with another texts (Ibidem), coming in touch
with other texts, in intertextuality24. Only at the point of this
contact between texts does a light flash, illuminating both the
posterior and anterior, joining a given text to a dialogue. This
contact is a dialogical contact between texts25. From this point of
view, the artwork cannot live outside the network of its
intertextuality; it does not necessarily find its interpretants
exclusively in the immediate contest: it may receive meaning from a
distant part of the sign network, with which there is no immediate
relation. Artistic practice is essentially dia-logic26: there is a
dialogical relationship between artwork and interpretation, and
artistic material is always inter-subjective and impregnated by
otherness. As Susan Petrilli underlines, Bakhtin places otherness
at the very heart of the signs identity27 (Petrilli 1996: 101),
which calls for an interpretant of answering comprehension and not
only of identification. Reciprocal alterity between interpreted and
interpretant confers the character of a dialogical relation on
interpretation. When interpretation becomes responsive
understanding, signs turn out to be a dialectical relationship
between interpreted and interpretant, a dialectical relationship
based on the category of alterity. Therefore, we may understand
interpretation as a dialogical relationship and consider the
interpretant as a response. The interpretant answers a question
posed by the interpreted; the interpreted and interpretant are the
question and answer of a dialogue internal to the sign28. Augusto
Ponzio also underlines that, according to Voloshinov-Bakhtin
(1929), the identification interpretant permits the recognition of
the sign, while the respondent comprehension interpretant does not
limit itself to identifying the interpreted, but installs a
relation of involvement, of participation with it: it responds to
the interpreted. The respondent comprehension interpretants of a
single interpreted are multiple and cannot be predetermined by a
code as, instead, happens for identification interpretants. An
unspecified number of interpretative routes branch out from a
single interpreted and here the plurivocity of the sign fully
manifests itself. Ponzio29 underlines that, in a Bakhtinian
perspective, the interpretation of a text may consist in the same
text expressed either orally or mentally, in a paraphrase, in its
translation into another language, in its graphic representation,
or in the image it recalls to ones mind. In his writings, also Ivan
I. Sollertinskij points out that the interpre
