Polyphonic Theory Research Articles

As pessoas que passavam xingavam ela de “macaca”: as facetas do racismo em textos infantis

Abstract How do public school students represent manifestations of racism in texts? Through the analysis of polyphony, we scrutinized the nuances of racial prejudice in personal accounts of sixth-year students from a public school. Considering the speaker's division allowed us to see how racism appears in the words of children aged 10 to 12 years. Racial insults were the main marks of the racism reported. However, it appears never in the voice of the narrator of the text, but always in the voice of other enunciators. We noticed that children judge racist manifestations wrong, censoring their occurrence. However, such manifestations are included in the voices of others incorporated in the texts. We conclude that the Polyphonic Theory of Enunciation is a useful tool to deepen the understanding of racist discourse.

On the question of the reception of the theory of the polyphonic novel by M.M. Bakhtin in Russian Literary Studies

The article is devoted to the problem of reception of the theory of the polyphonic novel by M.M. Bakhtin in Russian literary studies. The theory of the polyphonic novel by M.M. Bakhtin has been attracting the attention of researchers for more than 90 years. To date, a large number of works devoted to the study of Bakhtin's polyphonic theory have been published in Russia. A broad dialogue between researchers led to an increase in the degree of perception of Bakhtin's polyphonic theory, as well as to the deepening of research on Dostoevsky's novels. The purpose of our work is to identify the state and main trends in the reception of the theory of Bakhtin's polyphonic novel in Russia. In the article, the author gives an idea of the gradual development of Bakhtin's polyphonic idea in Russian literary studies, analyzes the specifics of the reception of the theory of the polyphonic novel at each stage. Based on the analysis, we came to the conclusion that the reception of Bakhtin's polyphonic novel theory in Russian literary studies is connected not only with the publication of the book by the scientist Dostoevsky, but also with the state of perception of Dostoevsky's work, and the hottest discussions in the process of receiving Bakhtin's theory are around the question of the independence of the voices of heroes and the role of the author in Dostoevsky's polyphonic novel, Bakhtin's methodological approach to the analysis of Dostoevsky's creativity. The scientific novelty of this work lies in the fact that the author considers various interpretations of the theory of Bakhtin's polyphonic novel in Russian literary studies.

La interpretación literaria como diálogo entre posiciones

La interpretación de una lectura es un acto dialógico, un espacio de encuentro de diferentes voces que confluyen en la mente del lector. Entre esas voces, se encuentran las que el lector reconoce en la propia obra —personajes, narrador, autor— así como aquellas voces que invoca y cuya procedencia reside en experiencias y conocimientos anteriores, por ejemplo: voces propias, voces de personas cercanas, voces de otros autores y personajes, etc. Todas ellas, modelan los pensamientos y decisiones del lector, y lo orientan en su interpretación y comprensión de la obra. Pero esas voces no siempre conviven en armonía, sino que pueden aparecer en conflicto, enfrentadas, contrapuestas. Es en esa dinámica dialógica donde cobran especial relevancia las voces más centrales que integran a otras, pues de ellas dependerá la interpretación final del lector. El estudio que presentamos pretende ofrecer una explicación integral y comprensiva del proceso de interpretación literaria a partir de la revisión de la Perspectiva Dialógica de Mijaíl Bajtín y de la Teoría del Yo Dialógico de Huber Hermans. Ambas definen al buen lector como un agente consciente y activo cuando afronta una actividad lectora compleja, como es la literaria.

Before and After John of Garland: The Concept of Directed Dyadic Progression and Its Prehistory

This article examines aspects of medieval polyphonic theory in numerous music-theoretical and pedagogical writings, from the ninth- or tenth-century Musica enchiriadis to several short anonymous texts composed around 1300, in order to show that the historically significant doctrine of directed dyadic progression (often called "interval progression") is not yet attested in any of them. In the process I devote considerable attention to the seminal contributions of the mid-thirteenth-century treatise De mensurabili musica, traditionally attributed to John of Garland, and to the more directly and persistently influential version thereof promulgated around 1280 by Franco of Cologne. This investigation supports my hypothesis, advanced elsewhere, that it was the recovery and dissemination, in the second half of the thirteenth century, of the Aristotelian theory of natural motion that, by providing an appropriate conceptual framework and vocabulary, made possible the emergence in music-theoretical discourse, beginning with Marchetto of Padua (Lucidarium, 1317/1318), of the concept of the directed dyadic progression, the historical precursor of our concept of harmonic progression.

Os sentidos do desastre em Mariana

O artigo analisa a cobertura do portal em.com.br sobre o rompimento da barragem da Samarco em Mariana/MG em novembro de 2015. Divididas em quatro fases temporais distintas, as matérias que compõem o corpus documental ajudam a compreender os pontos de vista mobilizados pelas fontes escolhidas pelos jornalistas para narrar e dar sentido ao ocorrido. Concluímos que o acionamento de fontes põe em funcionamento um ritual estratégico de polifonia dentro das rotinas produtivas jornalísticas desestabilizadas pelos desastres enquanto os campos problemáticos evidenciados pelo rompimento da barragem são os verdadeiros orquestradores do sentido social do acontecimento.

L'effet de la doxa dans l’identification et l'interprétation de l'ironie polyphonique

The Effect of Doxa in the Identification and Interpretation of Polyphonic Irony
 This article aims at identifying the role which plays the doxy in the process of identification and interpretation of the polyphonic irony. The analysis leans on a comparison of two main francophone polyphonic theories, theory of the mentions of Sperber and Wilson (1978) and polyphonic theory of Ducrot (1984). The first theory is from a référentialiste inspiration because it leans on extralinguistic elements to interpret the irony, while the second is from an aréférentialiste inspiration (integrated pragmatics) because it stipulates that all the elements necessary for the interpretation of the irony are in the language itself. The corpus on which leans this study is the Algerian satiric newspaper El-Manchar (electronic version). Through the comparative analysis of several ironic occurrences stemming from our corpus - by the theoretical tools offered by both theories in question, we will demonstrate that the doxy is an element-key. Indeed, without the help of the notion of doxy, any attempt of interpretation of the polyphonic irony is straightaway doomed to failure.

Con-fliggere. La complicità dei litiganti

The shape of the conflict this article explores is the one which normally takes place in the realm of language, when two or more individuals face one another in what is commonly identified as a “quarrel”. Redefining quarrel as personal conflict, and distinguishing it from differring opinions is the premise on which my article rests, so that personal conflict may be conceptualized as a discourse, i.e., a reality that is not to be found behind or beyond the words of the conflicting parties, and not in their “real motives” or “real interests”, but rather in their discursive coming together (inter-esse). We will not start from asking “why” two or more individuals come into conflict, but “what” they do with words while they quarrel. Taking as its background the Weberian sociology of the sense of action, my article tries to answer this question by taking cues from Austin’s speech act theory, Barthes’s semiotics, Bakhtin’s polyphonic theory, and Wittgenstein’s philosophical grammar, as well as some recent contributions made by analysts and professional “mediators”’ of personal conflicts.

A ironia como estratégia comunicativa e argumentativa

Neste artigo, tomando por base dados vindos da teoria polifônica de Bakhtin (1970a, 1970b) e também alguns conceitos que Ducrot (1984) elaborou a partir desta, procuramos mostrar no âmbito de uma teoria de análise do discurso - no caso, a Semiolinguística de Charaudeau (1983, 1992, 2008) - alguns dos procedimentos que levam à construção da ironia, tendo em vista que, para nós, este fenômeno linguageiro aparece como um meio de comunicação suscetível de criar estratégias argumentativas, ainda que estas se apresentem de forma não-convencional. Para ilustrar o que foi dito, tomamos como base de reflexão excertos do livro de memórias ou da narrativa de vida de um artista francês cujo modo de escrever poderia se enquadrar na categoria dos escritos carnavalescos, segundo Bakhtin (1970b).

El teatro de marionetas en Bajtín: la crítica como sabotaje ante la polifonía

Este ensayo trata de confrontar la teoría polifónica de Bajtín con la teoría silogística del discurso propia de la crítica como sabotaje. Con esa finalidad se elige la obra de Bajtín Problemas de la poética de Dostoievski, tanto en su versión española como en la rusa. Mediante una lectura atenta, propia del sabotaje, se ponen de relieve las contradicciones del discurso de Bajtin en torno a la polifonía, el discurso ajeno, y la independencia de los personajes en relación al autor. Tales contradicciones demuestran que todos esos conceptos empleados por Bajtín en torno a Dostoievski son en realidad recursos técnicos mediante los que el autor crea un determinado mundo. La crítica como sabotaje recupera la figura del autor como figura no compacta y dividida, pero responsable de la creación de un silogismo y un modelo de mundo complejos.This essay aims to confront Bakhtin’s polyphonic theory and syllogistic theory belonging to Criticism as Sabotage. To this end we choose Bakhtin’s Problems of Dostoievski’s Poetics, both in Spanish version and russian one. Through a close Reading, typical of the kind of criticism called Sabotage, we underline the contradictions of Bakhtin’s discourse around polyphony, speech of the other, and the Independence of the characters in relation to the author. Such a contradictions show that all concepts employed by Bakhtin about Dostoievski are actually technical resources through which the Author creates a concrete wordl. Criticism as sabotaje gets back author’ figure, divided in itself, but responsable for the creation of a syllogism and a complex wordl’s model.

A Dynamic Defense of Cooperative Federalism

The battle over federalism theory has yet to yield a victor. It is safe to say that dual federalism is dead, but recent commentators, particularly Robert Schapiro, have promulgated shiny new theories of federalism to take its place. What the current literature lacks is a concise, useful comparison of the rival theories. This Article compares the three major competing families of federalism theory: dual, cooperative, and dynamic. Adopting Schapiro’s normative framework, I analyze these three models in light of their instrumental utility. The assessment leads to a surprising and ironic conclusion: Schapiro’s polyphonic theory fails under his very own analytic rubric. Cooperative federalism, by contrast, outshines its competitors in two ways. First, within a framework of shared regulatory sovereignty, cooperative federalism optimally distributes segments of legislative authority by allowing the national government to enunciate broad, first-order norms and allowing the states to craft complementary regulations within those boundaries. Second, recent work in cooperative federalism shows that it can step outside the obsolete realm of sovereignty tug-of-war. In this way, cooperative federalism empowers states to realize their policy goals even in the absence of strict regulatory autonomy.

Reply

REPLY Jane Burbank's insightful and generous comments on this collection re- quire only a brief reply from Alice Pate and Michael Melancorr, as co-authors of the piece that applies Bakhtin's polyphonic theory to the Russian labor and revolutionary movements. As Burbank notes, this and other aspects of the collection are meant as a provocation to the field as regards certain "scholarly conventions" in our understanding of Late Imperial Russia and the 1917 revolutions. Burbank wonders whether innovation is helpful if it does not lead us to "better - not just different" understandings. Are not histoiians on safer ground when they

Paradigms and contrast in sixteenth‐century modal structure: Commixture in the tientos of Antonio de Cabezón

This article examines the types and techniques of modal commixture found in the tientos of Antonio de Cabezón (1510–1566). Although the value of historical theoretical formulations on tonality has been questioned, this study reminds us that traditional modal theory can be an effective tool towards the understanding of Renaissance compositional practice and the interpretation of numerous tonal and thematic compositional subtleties. The main theoretical point of departure for my analyses of Cabezón's tientos is the Arfe de tañer fantasía (1565) by Tomás de Santa María, a treatise on the composition and improvisation of instrumental genres, which Cabezón seems to have examined and approved. The study of commixture in the tientos focuses especially on modal change and modal ambiguity, and includes detailed analyses of several compositions by both Cabezón and Santa Maria. The analyses illustrate that Cabezón appears to have preferred commixture between “closely related modes,” or modes that share common structural elements. In the hands of such a skillful composer as Cabezón, commixture becomes a means of tonal variety and contrast, which, however, does not affect the underlying unity illustrated by the modal compositional paradigms. By showing that the principles and concepts provided by Renaissance polyphonic theory illuminate compositional practice both at the surface and the structural levels, I argue that this theory is not as removed from musical practice as has sometimes been suggested.

The pragmatic aspects of linguistic negation: Speech act, argumentation and pragmatic inference

This paper is an attempt to give a general explanation of pragmatic aspects of linguistic negation. After a brief survey of classical accounts of negation within pragmatic theories (as speech act theory, argumentation theory and polyphonic theory), the main pragmatic uses of negation (illocutionary negation, external negation, lowering and majoring negation) are discussed within relevance theory. The question of the relevance of negative utterance is raised, and a general inferential schema (based on the so-called invited inference) is proposed and tested for the main uses of negation discussed in the paper.

Polyphonic Theory and Contemporary Literary Practices

This paper briefly explores some of the ways in which Mikhail Bakhtin reaffirms the principle of the nonidentity yet inseparability of theory and practice in literary criticism. The lesson is one which stresses the need to disentangle the critical discourse from idealistic theoretical issues and engage in a materialist practice of criticism. If polyphonical dialogism (especially with respect to contemporary polyphony) is not to be confused with dialectics, then the most urgent and perhaps the most difficult task for the critic facing a polyphonic narrative is to negotiate the text in terms of the socio-historical actuality of the transformation which that text proposes. An analysis of D.M. Thomas' The White Hotel illustrates the ideological problems that arise when the operative system of the polyphonical narrative structure is stretched to the limit—as is moreover the case with many contemporary novels. And if the critic is to engage in a form of praxis, then he has to re-dialecticize the political (unconscious?) consciousness, in short, to politicize and not merely theorize its anticipated actualization. This article is available in Studies in 20th Century Literature: http://newprairiepress.org/sttcl/vol9/iss1/7 POLYPHONIC THEORY AND CONTEMPORARY LITERARY PRACTICES M.-PIERRETTE MALCUZYNSKI McGill University Any theoretical discussion presents at least one real danger: The temptation to closet the discussion tautologically and further theorize the theory, thus remaining within a speculative and experimental framework. This would mean having succumbed to the seduction of language, what Jean Baudrillard refers to when he asks whether every

Review: History of Music Theory, Books I and II. Polyphonic Theory to the Sixteenth Century by Hugo Riemann, Raymond H. Haagh

Book Review| October 01 1964 Review: History of Music Theory, Books I and II. Polyphonic Theory to the Sixteenth Century by Hugo Riemann, Raymond H. Haagh History of Music Theory, Books I and II. Polyphonic Theory to the Sixteenth CenturyHugo RiemannRaymond H. Haagh Lawrence A. Gushee Lawrence A. Gushee Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (1964) 17 (3): 395–400. https://doi.org/10.2307/830102 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Lawrence A. Gushee; Review: History of Music Theory, Books I and II. Polyphonic Theory to the Sixteenth Century by Hugo Riemann, Raymond H. Haagh. Journal of the American Musicological Society 1 October 1964; 17 (3): 395–400. doi: https://doi.org/10.2307/830102 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentJournal of the American Musicological Society Search This content is only available via PDF. Copyright 1964 The American Musicological Society Article PDF first page preview Close Modal You do not currently have access to this content.

History of Music Theory: Books I and II: Polyphonic Theory to the Sixteenth Century

History of Music Theory: Books I and II: Polyphonic Theory to the Sixteenth Century

History of Music Theory Books I and II: Polyphonic Theory to the 16th Century

History of Music Theory Books I and II: Polyphonic Theory to the 16th Century