Abstract
RESUMO Este artigo contribui para nossa compreensão de como os russos receberam os conceitos de Bakhtin, principalmente dois influentes estudiosos russos, críticos de Bakhtin, cada um a partir de uma perspectiva diferente. O estudo de tais críticas é valioso, uma vez que nos incentiva a reexaminar nossas próprias percepções, por vezes complacentes, das teorias de Bakhtin. Mikhail Gasparov (1937-2005), um importante classicista e preeminente erudito do verso, publicou críticas virulentas contra Bakhtin entre 1979 e 2004. Seu problema com Bakhtin era essencialmente metodológico. Lydia Ginzburg (1902-1990), conhecida por suas Notes of a Blockade Person, e por estudos sobre os gêneros do diário, das memórias, da carta pessoal e do caderno do escritor, questionou os pressupostos psicológicos por trás das teorias bakhtinianas de simpatia e amor. Ginzburg também tinha sérias dúvidas quanto à ideia bakhtiniana do romance polifônico e a respeito do uso que Bakhtin fazia da oposição entre o monológico e o dialógico para caracterizar os romances de Tolstoi e Dostoiévski. Um exame atento das posições de Bakhtin e Ginzburg sobre o amor revela paralelos e diferenças interessantes. O artigo termina com sugestões sobre como as críticas de Ginsburg e de Gasparov podem nos ajudar a ler Bakhtin de maneiras criativas.
Highlights
This article contributes to our understanding of how Russians received Bakhtin’s concepts, primarily two influential Russian scholars critical of Bakhtin, each from a different perspective
My comments here deal with Bakhtin as a negative or cautionary pole, viewed through two strong critical minds that helped shape the face of Russian literary studies in the twentieth century
Like Bakhtin, Ginzburg was fascinated by the novel, but she chose her exemplary novelists (Tolstoy and Marcel Proust) from later periods
Summary
Under what conditions did the post-boom, post-cult Bakhtin - the common property of a dozen languages and cultures - come home? Bakhtin’s re-entry created a new re-translation problem in Russia. One could argue that what was, “natively twentieth-century Russian” (and patriotic) about Bakhtin was his homegrown, aristocratic cosmopolitanism By this paradoxical formulation, I mean his ability to survive the system by staying outside it, being smarter than it, exploiting it for his research, refusing to feel victimized by it, beating the censors by being so well equipped in other cultures and languages that he could read in the original all those books not officially cleared (or cleansed) for Russian translation - in a word, his ability to be a novelized consciousness even under the knife, creating clever utterances faster than any censor could delete them. For what reasons did these two major intellects keep their distance from Bakhtin?
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