ABSTRACT

This article offers the hypothesis that, from the standpoint of the “sociological poetics” of the 1920s and contemporary literary epistemology, the structure of the polyphonic novel that Dostoevsky created and Bakhtin conceptualized (firstly in his 1929 book Problems of Dostoevsky’s Art [Problemy tvorchestva Dostoevskogo]) enables a reconstruing of the principles governing the writer’s social imagination along with the political thinking and priorities associated with them. From this standpoint, polyphony can be seen as one of the most fruitful and wholistic artistic interpretations of modern sociality experienced in an era of catastrophe, a sociality requiring a rejection of political action aimed at social change.

摘要

本文提出的假设是，从 20 年代的“社会学诗学”和当代文学认识论的角度，陀思妥耶夫斯基创作和巴赫金概念化的复调小说的结构（首先在他 1929 年的著作《陀思妥耶夫斯基的艺术问题》 [ Problemy tvorchestva Dostoevskogo ]) 能够重构支配作家社会想象力的原则以及与之相关的政治思想和优先事项。从这个角度来看，复调可以看作是对灾难时代经历的现代社会最富有成果和最全面的艺术诠释之一，这种社会需要拒绝旨在社会变革的政治行动。