In Bakhtin and Theatre, Dick McCaw relates Bakhtin's vision of art and life to theatre as visualized by Stanislavksy, Meyerhold and Grotowski, each of whom operated a “revolution” in their own original terms comparable to the so-called “Bakhtinian revolution” in philosophy of language and literary criticism. Moreover, as he recounts in his 1973 conversations with Victor Duvakin, his interest in the novel overlapped with theatre, in particular the Moscow Art Theatre. Bakhtin establishes a close relation between the novel, popular culture and carnival, evidencing the carnival component of novelistic discourse, therefore of life. Consequently, a central focus in Bakhtin's reflections is the polyphonic novel which he first identifies in Dostoevsky's novels. Ecofeminism, much like Bakhtinian dialogism in its quest for justice, hinges environmental degradation to gender-based, class-based, racist, and imperial variables, and it disrupts these ideologies and systems of oppression in order to assuage human and nonhuman conditions.Ī constant vision in Mikhail Bakhtin's works: polyphonic dialogue, this above all in the novel, but his love for theatre should not be neglected. In principle, combined, these approaches guard against any rejectionist or exclusionary superstructures they seek to deconstruct. A combination of these approaches precludes tantalization, and it also humanizes ecofeminism and gives it a wider scope. Counteracting condescendingly patronizing doctrines and reductive dichotomies, dialogism and ecofeminism pay equal attention to all parties and reject polarizations and divisions. The novel takes on multiple narratives that engender continuation and sharing vis-à-vis historical realities of political cleansing and ideologies and systems of exclusion. Hence, the text enacts a journey toward a realm that rises above gender and class-based rigidities, fusing facets of Nigerian sociopolitical and environmental crises (in the past and present). The novel foregrounds and grapples with the problematics of voice, representation, and history where the more inclusive voice appears to be, the more suppressive and exclusive of other voices it is.
This article examines the subtle allegorical political nuances and implications in Chinua Achebe’s Anthills of the Savannah (1987). In the light of O’Halloran’s eccentric nostalgia which tries to handle a play all in all monologically from the voice of just a single character, one may seem to be listening to the symphony of Bakhtin’s polyphonic heteroglossia stratified within the architectonics of both authors’ interillumination.
Since the references are written in an artistic language, a language near to a poetic one tries to tinker rationality to irrationality. To do so a successful Irish play of exuberance is invited to be served by a thinker from the past Soviet. This study tries to expand the richness of Bakhtin’s theory of novel by showing the reader that its thorough features could be traced back in a play rather than a novel, considering it more than what is usually the basis of “historical poetics” mainly in the form of a novel accentuating the constitution of a social ideology besides an individual one while gesturing dialogically in the interaction between representation in its textual form and particularities of its proper probable forces in their socio-historical stratifications within notions such as dialogism, intertextuality, heteroglossia and polyphony.