Polyphony (literature)
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| - | '''{{PAGENAME}}''' | + | In literature, '''polyphony''' ({{lang-ru|полифония}}) is a feature of narrative, which includes a diversity of points of view and voices. The concept was introduced by [[Mikhail Bakhtin]], based on the musical concept [[polyphony]]. It is often called 'multi-narritive' in schools. |
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| + | One of the most known examples of polyphony is [[Dostoevsky]]'s prose. Bakhtin has characterized Dostoevsky's work as polyphonic: unlike other novelists, he does not appear to aim for a 'single vision', going beyond simply describing situations from various angles. Dostoevsky engendered fully dramatic [[novel of ideas|novels of ideas]] where conflicting views and characters are left to develop unevenly into unbearable crescendo ''([[The Brothers Karamazov]])''. Through his descriptions the narrator's voice merges imperceptibly into the tone of the people he is describing. | ||
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| + | ==Modernism and contemporary examples== | ||
| + | *[[Virginia Woolf]] — ''[[Mrs Dalloway]]'' | ||
| + | *[[James Joyce]] — ''[[Ulysses (novel)|Ulysses]]'' | ||
| + | *[[Melvin Burgess]] — ''[[Junk (novel)|Junk]]'', ''[[Doing It]]'' | ||
| + | *[[Alexander Prokhanov]] — ''600 Years after the Battle'' | ||
| + | *[[Irvine Welsh]] — ''[[Trainspotting (novel)|Trainspotting]]'' | ||
| + | *[[Malorie Blackman]] — ''[[Noughts & Crosses Trilogy|Noughts & Crosses]]'' | ||
| + | *[[Derek Walcott]] — ''[[Omeros]]'' | ||
| + | *[[Paulo Coelho]] — ''[[The Witch of Portobello]]'' | ||
| + | *[[Aleksandr Solzhenitsyn]] — ''[[Cancer Ward]]'', ''[[First Circle]]'' ''[[The Red Wheel|The Red Wheel series]]'' | ||
| + | *[[Tad Williams]] - ''[[The Dragonbone Chair]]'' | ||
| + | *[[Herman Wouk]] - ''[[Winds of War]]'', ''[[War and Remembrance]]'', ''[[The Hope]]'', ''[[The Glory]]'' | ||
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| + | ==See also== | ||
| + | * [[Ensemble cast]] | ||
| + | * Townsend, Alex, Autonomous Voices: An Exploration of Polyphony in the Novels of Samuel Richardson, 2003, Oxford, Bern, Berlin, Bruxelles, Frankfurt/M., New York, Wien, 2003, ISBN 978-3-906769-80-6 / US-ISBN 978-0-8204-5917-2 | ||
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| + | ==References== | ||
| + | *Mikhail Bakhtin — ''[[Mikhail_Bakhtin#Problems_of_Dostoyevsky.E2.80.99s_Art:_polyphony_and_unfinalizabilit|Problems of Dostoyevsky’s Art: Polyphony and Unfinalizability]]'' | ||
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Revision as of 10:02, 13 December 2011
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In literature, polyphony (Template:Lang-ru) is a feature of narrative, which includes a diversity of points of view and voices. The concept was introduced by Mikhail Bakhtin, based on the musical concept polyphony. It is often called 'multi-narritive' in schools.
One of the most known examples of polyphony is Dostoevsky's prose. Bakhtin has characterized Dostoevsky's work as polyphonic: unlike other novelists, he does not appear to aim for a 'single vision', going beyond simply describing situations from various angles. Dostoevsky engendered fully dramatic novels of ideas where conflicting views and characters are left to develop unevenly into unbearable crescendo (The Brothers Karamazov). Through his descriptions the narrator's voice merges imperceptibly into the tone of the people he is describing.
Modernism and contemporary examples
- Virginia Woolf — Mrs Dalloway
- James Joyce — Ulysses
- Melvin Burgess — Junk, Doing It
- Alexander Prokhanov — 600 Years after the Battle
- Irvine Welsh — Trainspotting
- Malorie Blackman — Noughts & Crosses
- Derek Walcott — Omeros
- Paulo Coelho — The Witch of Portobello
- Aleksandr Solzhenitsyn — Cancer Ward, First Circle The Red Wheel series
- Tad Williams - The Dragonbone Chair
- Herman Wouk - Winds of War, War and Remembrance, The Hope, The Glory
See also
- Ensemble cast
- Townsend, Alex, Autonomous Voices: An Exploration of Polyphony in the Novels of Samuel Richardson, 2003, Oxford, Bern, Berlin, Bruxelles, Frankfurt/M., New York, Wien, 2003, ISBN 978-3-906769-80-6 / US-ISBN 978-0-8204-5917-2
References
- Mikhail Bakhtin — Problems of Dostoyevsky’s Art: Polyphony and Unfinalizability
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