By Bakhtin, Mikhail Mikhaĭlovich; Wussow, Helen; Hohne, Karen Ann; Bakhtin, M
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Additional resources for A Dialogue of voices : feminist literary theory and Bakhtin
As Morson and Emerson phrase it, laughter and carnival are "the Utopia of an anti-utopian thinker" (94). 9. Consistent with her call for an "other bisexuality," Cixous urges that we get past the opposition mother/father: "Let us dematerpaternalize rather than deny woman. . Let us defetishize. Let's get away from the dialectic which has it that the only good father is a dead father" (261). Earlier in the essay, however, she proclaims the primacy of the mother: "A woman is never far from 'mother' (I mean outside her role functions: the 'mother' as nonname and as source of goods).
A number of publications have appeared in the past few years addressing the topic of Bakhtin and feminism. These include Mary Russo, "Female Grotesques: Carnival and Theory," in Feminist Studies/Critical Studies, ed. Teresa de Lauretis (Bloomington: Indiana University Press, 1986); Dale M. Bauer's Feminist Dialogics: A Theory of Failed Community (Albany: State University of New York Press, 1988); Bakhtin and Cultural Theory, ed. Ken Hirschkop and David Shepherd (Manchester, England: Manchester University Press, 1989); and David Lodge, After Bakhtin: Essays on Fiction and Criticism (London: Routledge, 1990).
In the subversive "unofficial" version, the Medusa's laughter, a product not of the masculine province of history but of the limitless feminine country of desire, includes (and thereby preempts) whatever Perseus may have to say. In either case, someone is silenced. In either version of the myth, no true dialogue can be maintained. Bakhtin imagines a relationship between self and other in which silence is truly, reciprocally deadly. The moment the dialogue ends, whether violently or gently, both other and self have ceased to be.
A Dialogue of voices : feminist literary theory and Bakhtin by Bakhtin, Mikhail Mikhaĭlovich; Wussow, Helen; Hohne, Karen Ann; Bakhtin, M