Can you give an example of polyphony besides Dostoevsky?

"The Sound and the Fury" by Faulkner?

>>21955284 (OP)

Gravity’s Rainbow

Infinite Jest

Ulysses

House Of Leaves

JR by William Gaddis 



btw Bakhtin is great

>>21955284 (OP)

Woolf does it masterfully in Mrs Dalloway.

It's honestly everywhere in good literature, almost to the point of it being a trivially necessary feature.

>>21955284 (OP)

Roberto Bolaño

Julio Cortázar

unironically Moore's Watchmen



According to Bakhtin it is absent from drama (including even Shakespeare) and epic poetry.

was gonna say Faulkner is the one who comes to mind...confusing as fuck sometimes though.

>>21955284 (OP)

literally any author who isn't shit

>>21955284 (OP)

Cervantes

>>21955284 (OP)

The Passenger by McCarthy. As opposed to Stella Maris, which uses the same base but is a monologic/socratic novel.

>>21955284 (OP)

This really isn't that far from the aesthetics of drama. IIRC Bakhtin even used the word 'dramatic' to describe Dostoevsky's plot construction. But of course artistically it's still very different from drama and this difference is instrumental to the existential colouring added from Dostoevsky, which firmly places it at the end of the 19th century and not the beginning of the 17th. Needless to say the differences between Dostoevsky and Shakespeare don't need to be ennumerated.



>At anyrate we believe we shall really expedite the solution of an extremely difficult problem, if we define the Shakespearian Drama as a fixed mimetic improvisation of the highest poetic worth. For this explains at once each wondrous accidental in the bearing and discourse of characters alive to but one purpose, to be at this moment all that they are meant to seem to us to be, and to whom accordingly no word can come that lies outside this conjured nature; so that it would be positively laughable to us, upon closer consideration, if one of these figures were suddenly to pose as poet. This last is silent, and remains for us a riddle, such as Shakespeare. But his work is the only veritable Drama; and what that implies, as work of Art, is shewn by our rating its author the profoundest poet of all time.—

I don't think that's quite what the word is referring to. In Dostoevsky, particularly Demons, the narrator is a character in the novel interacting with the people, but is also privy to otherwise private thoughts and conversations and the way Dostoevsky seemlessly slips in and out of the first-person narrator to a basically omniscient one is wonderful.



wonderful is a pretty gay adjective unless you're talking about God/Christ

>>21955284 (OP)

>Bakhtinian bullshit

The Golden Ass

Baron Wenckheim's Homecoming

does this loads, sometimes mid paragraph, with learnable signals for particular characters.

yeah it's a very arbitrary term to me, most dramas and lengthy novels can be described in this way
