Research Updates and Christmas Quiz
4:30pm in G22, Jubilee Building.
20 minute Research in Progress Presentation: Mahrokh Hosseini
How are the lyric poems of Simin Behbahani dialogical in the sense of Bakhtinian terms? Explicitly, if we analyze Bakhtin’s model of dialogism in his writing, he defines the degree and types of otherness that exist in all kinds of cognition and interactions; is a feminine lyric poem, as a type of cognition and interaction dialogical? Bakhtin discussed in “The Problem of Speech Genres” that all speeches and utterances are dialogical, particularly in terms that they respond to prior distinct utterances. If this is true, then how one can respond to Bakhtin’s forceful characterization of poetry as integrally “monologic” in “Discourse in the Novel” (1934–35) and Author and Hero in Aesthetic Activity (1920-24)? This study argues that this discernible paradox can be settled in the context of Bakhtin’s dialogic concepts of cognition and communication. Therefore, according to Bakhtin’s dialogic theories of communication and cognition, Behbahani’s lyric poetry can also be studied dialogically as an utterance and monologically as an artistic utterance, simultaneously. However, to the extent that the author-hero relationship matters, the dialogic and artistic are similar in literature. In this way, every time the author and hero unify we can refer to the author-hero relationship as monological utterance and meanwhile, the utterance will be dialogical concerning the dialogic characteristics of the utterance (diversity of speaking subjects, intonation, different genres, and so on. For the purpose of this study, three poems form Behbahani are selected: “Gypsiesque (1)” (written in 1995), “Gypsiesque (13)” (1995) and “Necklace” (1987).
10 Minute Research Update: Gemma Farrell
10 Minute Research Update: Michael Guida