Bakhtin's Work Research Articles

A FORMAÇÃO EX-CÊNTRICA DE KAMBILI EM HIBISCO ROXO DE CHIMAMANDA NGOZI ADICHIE

Postmodern aesthetics can be understood by its significant deconstructive content and this is observed in the dilution of artistic and literary standards, especially when issues of race, class, gender, or even nation are highlighted. It is through the deconstruction of paradigms that this research is directed, by analyzing the work of the Nigerian writer Chimamanda Ngozi Adichie entitled Hibisco Roxo (2011) in which she narrates the formation process of the teenager Kambili and the shy resistance cultivated in the girl that in the end points out for their possible emancipation. In this way, we analyze how the process of formation and de-formation occurs in its trajectory, which in addition to deconstructing the standard formation of perfectibility propagated by the traditional literary model, the Bildungsroman (Formation Novel), subverts it to the ex-perspective -centric of a girl, Nigerian and suffering from the sad legacies of colonialism and patriarchy. To do this, we will base ourselves on studies on the Bildungsroman and the chronotopic change undergone by the literary genre in the works of Bakhtin (1992), Cristina Ferreira Pinto (1990) and Wilma Patrícia Maas (2000); on the concept of eccentricity we are guided by the studies of literary critic Linda Hutcheon (1988) and on Emancipation we draw on discussions present in Kant (1783) and Adorno (1995).

Is Genre Enough? A Theory of Genre Signaling as Generative AI Rhetoric

ABSTRACT OpenAI’s ChatGPT is a large language model (LLM) that excels at generating text and public controversy. Upon its release, many marveled at its ability to author intelligible and generically responsible texts (Herman). Writing about his students’ experiences using artificial intelligence (AI) writing assistants, S. Scott Graham remarks that the results were “consistently mediocre—and usually quite obvious in their fabrication.” Why might this be true? How can an LLM succeed in some respects and fail in others? We argue that the discrepant reactions to human and AI rhetoric are a question of genre, specifically that AI rhetoric is only generic; AI rhetoric represents a new enactment of “writing degree zero” (Barthes) that is disengaged from immediate rhetorical situations and knowledge bases. AI text generators (currently) have a more difficult time simulating the positioned perspectives that human writers bring to situations and communicate to audiences through their genre usage. Drawing on the work of Bakhtin, we treat this problem as a question of generic form and audience addressivity. We describe the interplay of form and addressivity as genre signaling and offer it as a construct for the analysis of AI rhetoric and genre as a cultural form (Miller). Genre signaling (Hart-Davidson and Omizo) describes a feature of communicative behavior as it occurs over time that can help both humans and machines evaluate written discourse as it exhibits certain stabilized formal features. When texts contain specific genre signals at expected frequencies and intensities, it may be recognized as being generally accurate, reliable, trustworthy. Without these signals, a text with a similar topical focus might fail to be taken as credible or useful. In this essay we propose to quantify genre signaling based on three measures: (1) stability, (2) frequency, and (3) periodicity.

Understanding the Interpretation of Bakhtin’s Ideas in Feminist Theory

In recent years, M. Bakhtin's concepts have garnered increasing recognition in Western academic circles, finding applications in diverse fields ranging from linguistics to psychiatry. This belated recognition might appear peculiar without an appreciation for the particular historical context in which Bakhtin's ideas were introduced to the West. Their initial introduction was deeply intertwined with the evolution of feminist theory, feminist criticism, and discussions surrounding gender identity. Notably, the first English rendition of some of Bakhtin's thoughts appeared in Julia Kristeva's “Word, Dialogue and Novel” in 1966, a seminal work in feminist theory. Subsequent to this introduction, for over two decades, Bakhtinian concepts such as “voice”, “dialogism”, “hybrid construction”, “heteroglossia”, and “carnival” were predominantly employed in feminist interpretations by renowned feminist theorists, including J. Kristeva, W. Booth, and D. Bauer. This persisted even after direct translations of Bakhtin's works emerged in the 1980s. For many, this association might appear unexpected and even counterintuitive, given that Bakhtin himself did not address feminist concerns or gender topics directly, nor did he reference female authors in his literary critiques. In this article, I will examine the feminist appropriation of central Bakhtinian notions and explore how Bakhtin's theory offers a fertile ground for feminist interpretive strategies. I further contend that while this feminist embrace significantly propelled the spread of Bakhtinian concepts in the West, it simultaneously restricted their broader adoption by employing them as a “Bakhtinian toolkit” to address theoretical deficiencies and circumvent challenges in feminist theory. Often, this led to a simplistic and reductive understanding of Bakhtinian ideas. Additionally, I posit that this issue stems from a core challenge illuminated by Bakhtin's own work: translations and interpretations of the same ideas across languages are not equivalent, as they are influenced by distinct dialogic systems.

JOGO COMO UMA EXISTÊNCIA DIFERENTE'S CREATIVITY

Consideration is being given to the phenomenon of play, through which another, different from the existing, ontological layer is created, revealing the little-known facets of culture and aesthetic activity in the heritage of Mikhail Bakhtin, the famous culturologist. The conducted research makes it possible to state the following. Play as a phenomenon is inextricably linked with the main themes of Bakhtin's work, being included in the concepts of dialogism, polylogue, carnival culture, and the theory of aesthetic activity. Play, in the aspect of interconnection with culture through art, stands as another being in which life is played out. In the carnival, the value space of the play is created; the play itself is complex and diverse. The ambivalence of the play is perceived as an attempt to express it in various planes of real life. The binarity of the play in the space of the carnival is revealed through the category of anti-structure. Play, in the space of the carnival, is defined as a play of life, is another being, declared by the author to be an extraterritorial space.

Análise do conto “A dama do cachorrinho”. Paralelos entre as relações autor-personagem em Mikhail Bakhtin e Antón Tchékhov

ABSTRACT Bakhtin's early works point to the origins of his theory. The novelty of this article consists in presenting Bakhtin's early works, more precisely the essay “The Author and the Hero in Aesthetic Activity,” written in the 1920s, and comparing it with Chekhov's views on the Author-Character-Reader relationship since we consider Chekhov a writer and a theorist of verbal creation, which we will evidence with excerpts from his letters. The article presents an analysis of Anton Chekhov's short story “The Lady with the Dog,” and the thesis that Chekhov had, right from the title, about the intention of relating his story to Alexandre Dumas' novel The Lady of the Camellias.

Dialogic authorial academic language learning

This paper reenvisions academic language learning in the university from a dialogic authorial perspective inspired by the work of Bakhtin. I argue that language pedagogues have misappropriated the radical alternative Bakhtin poses for language learning in his critique of genre through adopting a Vygotskyian internalization approach to discourse and a post-structuralist interpretation of Bakhtinian dialogic discourse as intertextuality. I explore how genre pedagogy has adopted these misunderstandings of Bakhtin to prioritize students’ and scholars’ socialization within pre-existing, commonly accepted, shared, authoritative patterns of discourse. I claim that genre pedagogy tends to legitimize the practice of university writing curricula to postpone students’ engagement in meaning making, focusing on training over education. I explore the consequence of this prioritization on socialization and training in form for suppressing students’ dialogic addressivity to and problematization of the ideas of others, which is an essential for meaningful academic discourse. By contrast, a dialogic authorial approach to language learning prioritizes education through students’ and scholars’ ontological engagement in posing problems and authoring meaning in communion with others. The expectation is for language forms to become a necessary byproduct of the production of utterances that are meaningful to oneself and responsive to others. When focused on meaning, academic language forms become invisible except when there are challenges with intelligibility or modality. I argue for a radical rethinking of university language learning curricula in terms of a focus on voice and the “stylistics” of form to serve meaning making.

Interpreting through AI: A note on the possibility of weaving ancient traditions with novel technologies

Abstract Language, like any other semiotic code, is a sign system whose forms (words, phrases, sentences, etc.) are governed by the standing for principle (SFP). However, the SFP is more complex to envision when ‘composite forms’ such as novels and dialogues are involved. In this article, and following the work of Bakhtin and Gasset, we present the idea that a composite semiotic form, such as a paragraph in a novel, does not stand for a simple referential situation only, but provides us with a context for anticipation. We show how these ideas can be expressed in the state-of-the-art language models in AI (Artificial Intelligence) and the way AI may provide us with novel directions for developing old practices of interpretation.

Creating Meaningful Interactions for Young Children, Older Friends, and Nursery School Practitioners within an Intergenerational Project.

Intergenerational practice, where children and older adults come together for shared activities, has grown in popularity in many Western countries. However, research about intergenerational practice, particularly in the UK, is limited. This paper reports on the findings from an exploratory case study about a small intergenerational project between a maintained nursery school and a residential care home for older adults with dementia in the South-East of England. The methodology was informed by a narrative dialogic approach drawing on the work of Bakhtin. Data was collected using naturalistic observations of children’s weekly visits to the care home and qualitative interviews with nursery school practitioners. The analysis explores how meaningful interactions were created between the children, the older adults, and the nursery school practitioners. Our findings suggest that singing, unstructured moments, continuity, context (open spaces/flexible sessions), and objects contribute to meaningful interactions between young children and older adults. The ability to be flexible and “go with the moment” were identified as key skills for practitioners supporting children and older adults. We conclude that intergenerational projects afford benefits not just for children and older adults, but also for practitioners in the form of “emotional rewards”. The importance of re-establishing intergenerational practice is recognised, as well as the ways in which barriers created by social distancing might safely be addressed through the use of outdoor spaces and digital technologies.Supplementary InformationThe online version contains supplementary material available at 10.1007/s10643-022-01330-5.

Contexto como espaço de criação e cocriação: um olhar sobre obras de Bakhtin e o Círculo

ABSTRACT This article aims to discuss the meaning of context in the works of Bakhtin and the Circle. The research corpus consists of works signed by Vološinov, Bakhtin and Medvedev published in Brazil. We set an image related to a space of creation and cocreation where discursive, ideological, cultural or artistic modes of communication exist. Results show four types of contexts: the context of the utterance in the speech communication mode of which borders are locutor and interlocutor; the unique and singular context in semiotic communication mode of which borders are active comprehension and evaluative intonation; the aesthetic context in the artistic communication mode of which borders are author and contemplator in a work of art, author and characters in the novel and lyric hero and his/her other in poetry; and the extraverbal context in the cultural communication mode of which borders are a “I-we” and the event of Being.

Ф. М. Достоевский в позднем творчестве М.М. Бахтина

The author aims to outline the conceptualization of Mikhail Bakhtin's late works. Their essential moment is Bakhtin's specific attitude to works by Fyodor Dostoevsky and to literature as a special part of culture. In this connection, the author understands Bakhtin's philosophy as a philosophy of literature bordering on philosophical anthropology. In the article, using Bakhtin's writings, as well as a number of studies on his works, as material, the author intends to reconstruct the ontological basis of fiction, in the center of which lies the concept of grotesque Bakhtin developed in his book dedicated to Francois Rabelais. Despite the huge amount of literature on Bakhtin's oeuvre, there are no studies on his later works as a separate research space. This applies both to the corpus of texts, since part of the Bakhtin archive has not yet been published and lies in the manuscripts department of the Russian State Library, and to attempts to show the philosophical significance of Bakhtin's late writings by conceptualizing them and bringing them together into a separate intellectual phenomenon. The article attempts to analyze Bakhtin's later works through the prism of his attitude to Dostoevsky's works. The name of Bakhtin is not just associated with the name of Dostoevsky. The Russian philosopher revealed the ontology of Dostoevsky's works, and, since for Bakhtin Dostoevsky's works are the pinnacle of the development of literature, through Dostoevsky's works Bakhtin unfolds literature in its highest manifestation for us. The author substantiates the thesis that the understanding of Bakhtin's late works is based on the ontologization of grotesque, which Bakhtin himself indicates indirectly, not explicitly. The author also shows that Bakhtin sees literature, the subject matter of his research, as a purpose, as a special part of culture that reflects the ultimate embodiment of the human principle, and not an example in his theoretical constructions. Bakhtin's attitude to Dostoevsky is primarily reflected in his book about Dostoevsky in two editions. However, it would be wrong to reduce this attitude only to this book. In a broad sense, all of Bakhtin's philosophical works can be reduced to a certain hermeneutics of Dostoevsky due to the presence of a close and organic connection between concepts and ideas in Bakhtin's works, as well as the fact that Dostoevsky for Bakhtin is a key figure in his philosophical legacy. However, in the present article, based on a late interview, the author of the article reconstructs Bakhtin's thoughts about Dostoevsky that outline, among other things, an important topic in the field of Bakhtin's hermeneutics - the role of Dostoevsky's reader.

BAKHTIN AND RENE GIRARD ON DOSTOEVSKY: A COMPARATIVE ANALYSIS

The article provides a critical comparison of two independent interpretations of F. M. Dostoevsky: from the side of M. Bakhtin and from the side of Rene Girard. Both authors have created coherent ways of understanding and reading the literary heritage of the writer in the perspective of their own understanding of the history of literature and the intellectual history of mankind as such. Dostoevsky is significant for Bakhtin not simply as an illustration of the applicability of some of his own ideas within the framework of literary criticism. Bakhtin sees Dostoevsky as an innovator in the development of the menippea genre and an unprecedented dialogization of literature. At the same time, without Dostoevsky, the movement of literature postulated by Girard towards the embodiment of the Gospel revelation would be incomplete. The incompleteness of Girard or Bakhtin without Dostoevsky (with all the reservations) is not fundamental. Without Dostoevsky, history as such fundamentally changes for Girard and for Bakhtin. The apparent incomparability of the authors makes it possible to read Dostoevsky differently. From the context of Girard, the meaning of Bakhtin's works and, inevitably, the meaning of laughter and dialogue (polyphony) in history are significantly transformed. On the other hand, the ways of including Dostoevsky in the image of history created by Girard, independently of Bakhtin, also run into difficulties.

‘I've got a daughter now man it's clean man’: Heteroglossic and intersectional constructions of fatherhood in the spontaneous talk of a group of young southeast London men

AbstractThis article provides an insight into the heteroglossic and intersectional construction of fatherhood in the self-recorded, spontaneous talk of a group of young men from ethnically and racially mixed working-class backgrounds in southeast London. By adopting an interactional sociolinguistic approach, informed by Bakhtin's (1981, 1984, 1986) work on dialogicality and Tannen's (1989, 2004) notion of constructed dialogue, this article explores the young men's use of voices for their positioning in a range of fathering discourses which are shaped by and shape intersectional and hegemonic masculinities. Intersections of race, ethnicity, and social class inform many of the young men's positions, especially in their talk about the influences of hip hop on their children. This polyphony of voices allows the group to balance traditional discourses of fathers as providers, protectors, and moral guides with contemporary models of intimate and involved fatherhood, but also competing discourses of virile masculinity and bad boy identity. (Dialogicality, discourse, ethnicity, fatherhood, hegemony, heteroglossia, intersectionality, identity, masculinity, race, social class, voice)*

Biopolitical Foundation of The Theory of M.M. Bakhtin's Carnival

Bakhtin is an ambiguous thinker, who manifests himself as well in the political interpretation of his ideas. The political context of Bakhtin's thought is mostly considered based on the work “Rabelais and His World”. The article aims to identify the meaning structures of Bakhtin's work on Rabelais, which determine the political interpretation of his concept. The highlighted meaning structures are interconnected. They represent a series of Bakhtin's theses on the classificatory character of the division of cultural consciousness, on the decline of the laughter principle, etc. These theses form a coherent narrative that can be interpreted in completely different ways. Bakhtin's concept may be presented by interpreters in liberal or leftist way, as well as deeply conservative. These interpretations are based on different understandings of the status of carnivalization, which is essentially identical to the phenomenon of transgression. Accordingly, the second aim of the article is to show how Bakhtin understood transgression. To contextualize Bakhtin's concept of carnivalization, some of his points, which are similar to the ones made by the theorists of the ambivalent sacred (J. Bataille and R. Caillois) are considered. But a fact remains that requires explanation: Bakhtin's thought does not fit well into the framework of one or another political interpretation. As an explanation, a hypothesis of the biopolitical basis of Bakhtin's concept is put forward. The Agamben's figure of naked life constituted by sovereign power is contrasted with the Bakhtin's figure of material-bodily bottom, as the idea of the collective immortality of the people.

The Bakhtin Circle’s dialog in Vietnam

In this article, we use Jacques Derrida’s deconstructive method to study the influence of Mikhail Bakhtin in Vietnam in the 1990s and 2000s. By using evaluations of Bakhtin by researchers in Vietnam and around the world, we argue that he is not the only owner of the theory of dialog and polyphony. His friends, Pavel Medvedev and Valentin Voloshinov, also played important roles in defining these concepts. The Bakhtin Circle’s dialog theory is related to the sense of democracy in society. The work of Bakhtin was introduced to Vietnam in the 1980s and led to a “Bakhtin fever” throughout Vietnam. However, he has been less overrated recently. We also discover a mistake in the dialogic theory of the Bakhtin Circle. The members of the Circle said that the nature of language is dialogic, which means that whenever language is used, either in literature or in common life, it is always polyphonic. Based on this claim, novels use language to tell stories, so novels are polyphonic. The Bakhtin Circle was mistaken when labeling Dostoevsky’s novels as polyphonic and Tolstoy’s novels as monologic. In the same vein, the Bakhtin Circle strongly believed that language in poetry is always monologic. We think this claim is also wrong. Dialogicality appears in all kinds of poetic languages.

The transformation of pedagogical practices into dialogic teaching: towards a dialogic notion of teacher learning

ABSTRACT The dialogic teaching approach has been studied widely, both empirically and theoretically. However, despite four decades of research suggesting that dialogical interactions promote student learning, it has been very difficult to reflect this in practice. Teachers’ professional development programmes oriented towards promoting dialogical pedagogies have been based on sociocultural approaches centred on teachers’ reflective analysis of classroom practices. Studies show that reflecting on pedagogical practices is necessary but insufficient to promote the desired changes. Beyond reflection, initiatives centred on scaffolding the practice with dialogic discursive repertoires have seen more successful results. This suggests that centring on the practice seems to be fundamental to change. Nevertheless, the theoretical basis has not been elaborated further to understand why centring on the direct scaffolding of practice would promote teachers’ learning and pedagogical practice transformation. In order to account for the available empirical evidence, drawing on the works of Bakhtin and Vygotsky, the aim of this paper is to elaborate on a dialogical theory of teacher learning. Using this theoretical approach, different theoretical views of learning, teacher professional development programmes and the main tensions therein are discussed.

ДНИ М.М. БАХТИНА В САРАНСКЕ (К 125-ЛЕТИЮ СО ДНЯ РОЖДЕНИЯ МЫСЛИТЕЛЯ)

Subject of the article: review of the Bakhtin days in Saransk (to the 125th anniversary of the thinker's birth)". The object of the article: twenty-first century, "dialogue with a thinker" on the day of birth. Project goal: to update information about the development of Bakhtin studies in the modern world for the scientific and educational world. Methodology of work: the phenomenon of Bakhtin is unique, unique and significant. This context of studying his scientific work became possible using comparative historical, cultural-philosophical approaches, as well as the biographical method of analysis. Results of the work: consideration of Bakhtin's works, his ideas, thoughts, approaches and research methods, the meanings of his biographical chronicle, and transcripts on publications from the scientist's personal library makes it possible to build a chronotope of memory, fix the dominant literary and cultural-philosophical meanings, and identify the specifics of Bakhtin's thinking and the ideas that dominate his work. Scope of the results: the dialogue that reflects the new multi-level way of research of Bakhtin's works becomes the basis for the formation of a new scientific paradigm, in his own words, "The last word about the world is not said. Still ahead", which stimulates interest in understanding the innovative phenomena associated with the life and work of the thinker, opens up the possibility of comparative methodology in the study of the "Circle of Bakhtin" and his personality. Understanding the scientific dialogue "I and the Other", the phenomenon of polyphonism, the chronotope of culture and art in the regional and urban space, etc. it allowed us to clarify / detail the General patterns of development of Bakhtin studies. Conclusion: the scientific novelty of the project consists in a comprehensive analysis of the Round table materials related to the increasing dynamics of research on Bakhtin, the activities Of the M. M. Bakhtin Center at the N. P. Ogarev Mordovian state University, and the publication of the scientific electronic journal "Bakhtin Bulletin". In the context of Russian culture, holding such an International forum, which held a dialogue about the present and the future perspective in the study of the semantic context of M. M. Bakhtin works, is important and significant. The inclusion of these materials in scientific circulation contributes to the enrichment of scientific thought about the literary critic and philosopher M. M. Bakhtin. The conclusions presented in the scientific review are reasoned and logical.

«ЧУЖОЕ СЛОВО» В СОВРЕМЕННОЙ РУССКОЙ ЛИТЕРАТУРЕ: ВЕКТОРЫ ИНТЕРТЕКСТУАЛЬНОГО ПРЕЛОМЛЕНИЯ

Subject of the article: problems of intertextual refraction in contemporary artistic discourse. Object of the article: "dialogue" in Russian prose of the late XX-early XXI centuries. The goal of the project: to actualize the ideas of M.М. Bakhtin for contemporary literary criticism. Methodology of work: the context of studying the scientific creativity of M.M. Bakhtin with the help of literary and cultural approaches. Results of the work: a parody contributing to the construction of a different artistic paradigm in the culture of the XXI century. turned out to be a rather rare phenomenon, since intertextual strategies ceased to lead to building on interpretative delimitation along the line of authorship of lyric intonation of comprehension and rethinking, transforming myths into poetry. Field of application of the results: a dialogue that reflected a new multi-level way of researching Bakhtin's works, as the basis for the formation of a new artistic paradigm. Conclusion: in the development of artistic discourse at the turn of the XX-XXI centuries. two vectors complement each other clearly stand out. The first is engaged in the search for new artistic means of expression and is caused by the need to understand the changes that have taken place at the level of linguocultural behavior and the desire for a certain synthesis. The second vector, which is a reaction to the mental and stylistic complex of postmodernism as a cultural mainstream, is characterized by a return to the sphere of non-reflective discourse. The conclusions presented in the scientific review are reasoned and logical.

ВНУТРИ И ВОКРУГ ГОГОЛЯ. ЛЕВ ПУМПЯНСКИЙ И МИХАИЛ БАХТИН

The present article examines the main works by Lev Pumpyansky and Mikhail Bakhtin which are devoted to Gogol's opus. It explores the theory of laughter and the ensuing literary genres through the lens of the common experience which the authors shared in Nevel (1919-1920) within the so-called “Nevel School of Philosophy”. By analysing “An attempt at constructing a relativistic reality on the basis of the ‘Inspector'” (1919), the incomplete book “Gogol” (1922-1925) by Pumpyansky, and Bakhtin's work on Rabelais, the paper aims to shed some light on how these authors conceived and elaborated the philosophy of laughter starting from the end of the 1910 s. The article investigates Pumpyansky's and Bakhtin's conceptualization of the origin and development of comic prose as well as their understanding of the role played by Gogol's comic and satirical prose, while also uncovering their views about Saltykov-Shchedrin's and Dostoevsky's work.

Христианство в творчестве Бахтина (гл. 1). Перевод на русский язык священника Дмитрия Барицкого

Личность и творчество выдающегося русского мыслителя М. М. Бахтина (1895–1975) в последнее время всё больше и больше становится предметом пристального внимания учёных. Несмотря на существование множества работ, которые посвящены философской, культурологической, эстетической проблематике его произведений, практически совершенно игнорируется вопрос о религиозной составляющей наследия М. М. Бахтина. Английская исследовательница Рут Коутс (Ruth Coates) ставит перед собой задачу восполнить эту лакуну. В своей монографии «Christianity in Bakhtin» («Христианство в творчестве Бахтина») она предлагает нашему вниманию результаты своего анализа как религиозных взглядов самого М. М. Бахтина, так и религиозных мотивов его творчества. Монография была издана в издательстве «Cambridge University Press» в 1998 году. Настоящая публикация открывает серию статей, цель которых — познакомить русскоязычного читателя с содержанием наиболее важных разделов данного исследования. The personality and work of the outstanding Russian thinker M.M. Bakhtin (1895-1975) have recently become an increasingly important subject of scholarly attention. Despite the existence of many works devoted to philosophical, culturological, aesthetic problems of his works, the question of the religious component of Mikhail Bakhtin's heritage is almost completely ignored. The British researcher Ruth Coates sets herself the task of filling this gap. In her monograph Christianity in Bakhtin, she presents the results of her analysis of both Bakhtin's own religious views and those of Bakhtin. Bakhtin, as well as the religious motifs in his works. This monograph was published by Cambridge University Press in 1998. The present publication opens a series of articles, the purpose of which is to acquaint the Russian-speaking reader with the contents of the most important sections of this study.

O discurso da dança e o conceito de gênero - alguns elementos de leitura

RESUMO O objetivo do presente artigo é tratar a dança como discurso visual e verbo-visual e identificar alguns de seus componentes que permitem a construção de sentido para um público sem formação específica e que seja mero amador e frequentador de espetáculos de dança. Na primeira parte, busca-se estabelecer as bases teórico-conceituais do trabalho e, para tanto, percorrem-se trechos da obra de Bakhtin, Medviédev e Volóshinov que convergem com o pensamento de Rudolf Laban, teórico da dança que a concebe como linguagem. Na segunda parte, analisa-se um corpus constituído de quatro fragmentos discursivos, exemplares de diferentes gêneros - balé clássico, balé moderno, hip-hop e streetdance. Mobilizam-se para a análise os conceitos de gênero discursivo, entonação e sistema de valores.