This article proposes a way of understanding consciousness in both dialectical and dialogical terms. More particularly, Vygotsky (1978, 1934/1986) argues that consciousness involves a number of dialectical progressions (e.g., from primitive to cultural knowing, from basic to expert knowing). These dialectics involve a dynamic reorganization of the subcomponents of consciousness (e.g., memory, attention, perception) along a developmental continuum. Bakhtin (1975/1981, 1929/1984a), on the other hand, draws attention to the dialogical within consciousness; specifically the ideology and values that imbue consciousness as a type of knowing. This presents us with a more "vertical" continuum between "authoritative knowing" (knowledge tied to a figure of authority) and "carnivalistic knowing" (knowledge that subverts and de-crowns our taken-for-granted assumptions). I examine the dynamics between these ways of knowing in terms of both the development and the operation of consciousness. I argue that while there are substantial differences between these frameworks, they also mutually enrich each other. In particular, I argue that Bakhtin's dialogics draw attention to the presence of a sensing self within consciousness while Vygotsky's dialectical method can help make sense of a transformation of carnival and authority from an interpersonal to an intrapersonal relationship.

No description available.

This study examines carnival and ritual in Breyten Breytenbach's dramatic oeuvre and focuses on his Afrikaans drama texts Boklied (1998) and Die toneelstuk (2001). Seeing that these dramas had their debut performances at the Afrikaans national arts festival, the Afrikaans festival phenomenon, as well as Breytenbach's texts will be discussed as framed Events, within a carnival environment, as defined and described by Russian philosopher Bakhtin. The study evolves around three critical questions: 1. How does Bakhtin define the term "carnival" and could Afrikaans national arts festvals be seen as platforms for carnavalesque expression? 2. How does Professor Temple Hauptfleisch define an Event and why can the Afrikaans national arts festivals, as well as the drama texts under discussion, be seen as such Events? 3. How does Breyten Breytenbach's texts link up with Bakhtin's carnival theory and the ritual nature of the Dionysos festivals? / Afrikaans & Theory of Literature / M.A. (Afrikaans)

This study examines carnival and ritual in Breyten Breytenbach's dramatic oeuvre and focuses on his Afrikaans drama texts Boklied (1998) and Die toneelstuk (2001). Seeing that these dramas had their debut performances at the Afrikaans national arts festival, the Afrikaans festival phenomenon, as well as Breytenbach's texts will be discussed as framed Events, within a carnival environment, as defined and described by Russian philosopher Bakhtin. The study evolves around three critical questions: 1. How does Bakhtin define the term "carnival" and could Afrikaans national arts festvals be seen as platforms for carnavalesque expression? 2. How does Professor Temple Hauptfleisch define an Event and why can the Afrikaans national arts festivals, as well as the drama texts under discussion, be seen as such Events? 3. How does Breyten Breytenbach's texts link up with Bakhtin's carnival theory and the ritual nature of the Dionysos festivals? / Afrikaans and Theory of Literature / M.A. (Afrikaans)

The doctoral thesis The World of Italian Comic-Realistic Poetry maps in a mostly chronological order the type of Italian poetry that is often referred to as 'giocosa' or 'comico- realistica' - in Czech translation, this best corresponds to 'poezie komicko-realistická'. The principal themes and individual topoi within the genre are analysed one by one, and examples are introduced to demonstrate the propositions related to the existence, characteristics and quality of the genre and the comic contained therein. The introduction is followed by an analysis of comic-realistic poetry of the first period which saw its heyday, namely, the first half of the 14th century, roughly comprising the years 1280- 1340. Following an analysis of sonnets by Rustico di Filippi, who is considered the emblematic founder of the genre in Italy, various topics are gradually analysed such as Bakhtinian reversal in values and seeming protest against the world, poverty and money, woman and anti-stilnovismo in sonnets of a great number of poets of the time, the most typical of them being Cecco Angiolieri. Topics with a more realistic background are also included, religious and political sonnets in particular. The issue of autobiography or pseudo- autobiography in comic-realistic texts is also covered in detail. Based on the...