The aim of this paper is to interpret systematically M. M. Bakhtin’s views on genre. Although Aristotle was the first philosopher—and one of the first thinkers in general who focused on the issues of artistic and rhetorical genres, philosophy as such did not treat these issues for a considerably long time. One of the first philosophers who approached the genre issue within the larger context of the philosophy of language was Mikhail M. Bakhtin, a Russian philosopher and a literary scholar. (...) As early as the 1920s he founded philosophical thinking on the so-called small speech genres, which later served as the basis for a remarkable theory of primary and secondary genres. Bakhtin is a world renowned theoretician on the novel, but his genre theory is nevertheless very topical, too, since it relates to issues focused on by philosophers much later. (shrink)

Dialogue is a seminal concept within the work of the Brazilian adult education theorist, Paulo Freire, and the Russian literary critic and philosopher, Mikhail Bakhtin. While there are commonalities in their understanding of dialogue, they differ in their treatment of dialectic. This paper addresses commonalities and dissonances within a Bakhtin-Freire dialogue on the notions of dialogue and dialectic. It then teases out some of the implications for education theory and practice in relation to two South African contexts of learning that (...) facilitate the access to education of disadvantaged groups, one in higher education and the other in early childhood education. (shrink)

This paper seeks to explore the relationship between Mikhail Mikhailovich Bakhtin’s theoretical apparatus and ideas of the immediate precursors of the Jena Romantik school of German Romanticism: Johann Georg Hamann (1730–1788) and Johann Gottfried Herder (1744–1803). In doing so, it examines the themes and treatments that are common to these two thinkers and Bakhtin, tracing the tradition of anti-systematic thought through Hamann, Nietzsche and Bakhtin, and the transmission of Herder’s philosophy of Bildung through the Russian cultural milieu and Goethe. Initially, (...) the paper briefly outlines the early German Romantic ‘school’ of philosophy as a prelude to a more detailed examination of the ways in which Bakhtin assimilated German philosophy in general. The paper’s section on Hamann commences with a review of his background, using this as a basis for establishing connections between Hamann’s approach to communication and that of Bakhtin, based on a common epistemology focused on the self. The section on Herder is centred on his concept of Bildung and his historicist approach to literature, both of which interests Bakhtin shared. The paper then examines a number of conduits for Herder’s thought to Bakhtin, including Kant and Goethe. The paper concludes by examining Isaiah Berlin’s notion of the ‘Counter-Enlightenment’—in which movement he includes both Hamann and Herder—and the extent to which Bakhtin could be said to form part of this tradition. (shrink)

The introduction claims that there might exist an evolutionary bridge from possible genres in nature to human cultural genres. A sub-hypothesis is that basic life-conditions, partly common for animals and humans, in the long run can generate so-called life-genres. To investigate such hypotheses a framework of interrelated key communicational concepts is outlined in the second, main part. Four levels are suggested. Signs are seen as elements in utterances. Further, sufficiently similar utterances can be perceived as kinds of utterances or genres. (...) Genres are kinds of communication in a species' life-world. Utterance and genre are the framework’s key concepts. Both are seen as products and processes and as constituted by five reciprocal aspects: form, content, act, time, and space, the necessary elements to initiate and interpret communication. A model illustrates this integrative principle. Part three dwells with the idea of life-genres, and part four exemplifies and problematises how a chimpanzee’s ‘begging’ for meat, a fish’s nest-making, and kinds of birdsongs, could be seen as possible life-genres. The last, short part gives a brief summary, highlights challenges, and reflects over the framework’s relevance for biosemiotics. (shrink)

At present the theory of Russian Formalism becomes actual once again owing to the rapid development of cognitive science. Aesthetic theories recently put forward within the framework of cognitive science turned out to be consonant with the Formalist’s views on the general principles of artistic activity. In my paper I argue that (1) the theory of Russian Formalism contains a number of methodological assumptions that are close to a cognitive approach; (2) some of the main principles of the Formalist theory (...) (e.g., “elimination of automatism of perception” or “the dominant”) permit the reformulation into cognitive terms; (3) such reformulation is not only possible, but useful because it makes the theory more powerful for explanation of the artistic phenomena. The findings from the new field of cognitive science not only prove some Formalist theses, but deepen and specify them as well. (shrink)

One of the key concepts in autonomist Marxism is the ‘general intellect’. As capitalism develops, labour and its products become increasingly ‘immaterial’, inasmuch as the physical side of production is taken over by automated systems. The result is that all aspects of the collective worker's affective, desiring and cognitive capabilities are now brought to bear on production itself. This problematises capitalistic notions of proprietary control, because it raises the possibility that the mass ‘cognitive worker’, and the inherently co-operative principles it (...) embodies, can detach itself from neoliberal mechanisms of subsumption and valorisation and lay the foundation for a new communalistic ethos. What is intriguing is that several autonomists evoke the work of Mikhail Bakhtin vis-à-vis the ‘general intellect’. Bakhtin did maintain that dialogism is an irreducibly collective phenomenon, and that we all contribute to the continuous making and remaking of language. We do not ‘own’ the words we use; as such, meaning is necessarily plural and heterogeneous, the product of the interaction of many texts and voices that can only be pragmatically and contingently unified. The present article seeks to explore the connection between Bakhtin and autonomism, focusing on the insight that communication is always ‘more than myself’, and hence integral to the ‘social brain’ that is a shared legacy, our ‘commonwealth’. It also raises the possibility of a more ‘troublesome’ Bakhtin than is generally countenanced by the liberal academy, and a concomitantly ‘dangerous’ dialogism that haunts a digitalised and networked world marked in equal measure by tremendous emancipatory promise and catastrophic threat. (shrink)

Fugue and chaos are used in their contemporary meaning. Elements of the fugue, albeit a ‎small number of universals, will be demonstrated in the area of visual and verbal colors. ‎Chaos dominates the internet, fashion, and everyday life. The visual and verbal colors are ‎differentiated and their communicative potential is indicated alongside the diachronic changes. The prototypes of colors are the interface between visual and verbal colors.‎.