A virada histórica de Bakhtin e seus antecedentes soviéticos

Craig Brandist

doi:10.1590/2176-457324626

Abstract

RESUMO Baseado em trabalhos anteriores, o artigo oferece uma nova compreensão das ideias de Bakhtin sobre a estratificação e o desenvolvimento histórico da linguagem, apoiado em material de arquivo do Instituto para a História Comparativa das Literaturas e Línguas do Ocidente e Oriente (ILIaZV), não publicado. O foco é o trabalho de Bakhtin do final dos anos 1930, quando ele desvia sua atenção da língua para o desenvolvimento histórico de imagens específicas, séries semânticas e estruturas de enredo. Bakhtin ainda manteve conexões próximas com o trabalho desenvolvido no ILIaZV, mas baseou seu trabalho em diferentes intelectuais, Aleksandr Vesselóvski (1838-1906) e Izrail Frank-Kamenetski (1880-1937), que se tornam influências importantes para ele, especialmente em relação a sua ideia sobre o modo como o ritual sincrético do Carnaval se torna um aspecto estruturador da literatura e em sua análise das estruturas de enredo e metáforas. O artigo oferece algumas informações sobre as assunções por trás das noções bakhtinianas de cronotopo e carnaval e a perspectiva de retomar essas noções, de modo que se tornem ferramentas úteis para pesquisa futura.

Highlights

Based on previous work, the article provides a new understanding of Bakhtin’s ideas on the stratification and historical development of language, drawing on unpublished archival materials of the Institute for the Comparative History of the Literatures and Languages of the West and East (ILIaZV)
Of particular importance for our understanding of the work of the Bakhtin Circle in its historical context have been the archives of the Institute for the Comparative History of the Literatures and Languages of the West and East
I outlined how Bakhtin’s ideas about the social stratification of language and its historical development were based on ideas worked out at ILIaZV by, inter alia, Lev Iakubinskii (1892–1945) on the development of the Russian national language at the end of the 1920s (BRANDIST, 2003)

Summary

Bakhtin’s Early Work

In his early works in moral philosophy and philosophical aesthetics, Bakhtin’s concerns closely resemble those of the early German Romantics, who had recoiled from the violence of the terror that followed the French Revolution that they had supported, and sought to educate the people to behave in an enlightened manner. Art strives to pervade our being, to affect our impulses and our most intimate reactions; to shape our sensibility; to transform and organize our vision - and to affect our behaviour; ‘to teach us how to live’ in short” (BACHTIN, 1963, p.26) In his early phenomenological analyses of the ethical act Mikhail Bakhtin discerned an aesthetic moment, and came to the conclusion that art has a morally educative role in cultivating feelings and desires, rather than just the intellect, and develops the individual’s sensibility. In Author and Hero in Aesthetic Activity (BAKHTIN, 2003 [1924–27]; 1990 [1924–27]) this developed into the contention that it is through adopting the appropriate modality of author-hero relations that the work of literary art can encourage spontaneity of thought, develop the person’s sensibility and incline him or her to act according to reason This ethical reason is jurisprudential, for it teaches us to regard the individual solely as a bearer of rights and responsibilities. Literary art that is not excessively doctrinal, free from external constraint and constructed according to its inherent nature alone (Goethe’s “inner form” of the work) can assist in cultivating our senses, refining, ennobling and sublimating our desires and feelings to the demands of ethical life. But art is always ethical, and to be true to its inherent nature the author needs, to assert authorial responsibility.

Sociological Poetics

Aleksandr Veselovskii

Semantic Palaeontology