The Authoring Hero: Perspectives and Limits in Bakhtin’s Reading of Dickens
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Bakhtin was fond of Dickens: curiously so, because Dickens did not write dialogic novels rich in empathetic “going out and returning”. Dickens’s late novel Our Mutual Friend is riddled with two less than fully dialogic relationships which tend to weaken his characters still further, requiring all of Dickens’s considerable repertoire of props to hold them together. The first of these is the non-dialogic relationships between speaker and self. I discuss why, from a Bakhtinian perspective, this cannot be seen as a dialogic relationship in any important sense of the word. The second non-dialogic relationship is that between player and character. I discuss the reason why Dickens found this theme so compelling by looking into the life of the author himself. Why then was Bakhtin so fond of Dickens? The answer might lie in his close analysis of the “hybrid construct” in Little Dorrit. I argue that some of the limitations of Bakhtin’s idea of hybrid construction are a result of his warm appreciation of Dickens’s monotone sarcasm and a lack of interest in the works of women writers of the 19th century. I show that what Bakhtin has to say about the hybrid construct applies much better to the works of Jane Austen and Dickens’ contemporary Elizabeth Gaskell.
Abstract
Bakhtin was fond of Dickens: curiously so, because Dickens did not write dialogic novels rich in empathetic “going out and returning”. Dickens’s late novel Our Mutual Friend is riddled with two less than fully dialogic relationships which tend to weaken his characters still further, requiring all of Dickens’s considerable repertoire of props to hold them together. The first of these is the non-dialogic relationships between speaker and self. I discuss why, from a Bakhtinian perspective, this cannot be seen as a dialogic relationship in any important sense of the word. The second non-dialogic relationship is that between player and character. I discuss the reason why Dickens found this theme so compelling by looking into the life of the author himself. Why then was Bakhtin so fond of Dickens? The answer might lie in his close analysis of the “hybrid construct” in Little Dorrit. I argue that some of the limitations of Bakhtin’s idea of hybrid construction are a result of his warm appreciation of Dickens’s monotone sarcasm and a lack of interest in the works of women writers of the 19th century. I show that what Bakhtin has to say about the hybrid construct applies much better to the works of Jane Austen and Dickens’ contemporary Elizabeth Gaskell.
참고문헌 (20)
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