RESUMO A analise de discursos comparativa surgiu na Franca, mais precisamente no laboratorio CEDISCOR, da Universidade Sorbonne Nouvelle - Paris 3, por volta dos anos 2000. Atualmente, ela vem sendo implementada no Brasil no âmbito do grupo Dialogo (CNPq/USP). O objetivo do artigo e refletir sobre as possibilidades teoricas e metodologicas implicadas na pratica da analise de discursos comparativa no Brasil, de inspiracao bakhtiniana. Para tanto, partimos de uma reflexao teorica sobre a nocao de categoria (de analise). Investigamos, por um lado, como a nocao de categoria esteve presente ja na criacao do CEDISCOR e da analise de discursos comparativa na Franca, quando buscava-se determinar “categorias comparaveis” e, por outro lado, mostramos como a criacao de uma ciencia por Bakhtin – a metalinguistica – parte tambem de uma revisao da nocao de categoria linguistica, o que tem implicacoes na maneira como a analise de discursos comparativa de inspiracao bakhtiniana pode ser praticada no Brasil.

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A análise de discursos comparativa no Brasil: uma reflexão a partir da noção de categoria

This article examines Georg Lukacs’ The Historical Novel (1937–8) and four works on the novel written by Mikhail Bakhtin between 1936 and 1941 in relation to the Great Terror and Soviet socialist r...

The art of cunning: Georg Lukács, Mikhail Bakhtin and Soviet Socialist realism:

This article contributes to our understanding of how Russians received Bakhtin’s concepts, primarily two influential Russian scholars critical of Bakhtin, each from a different perspective. The study of such criticisms is valuable, as it encourages us to re-examine our own sometimes complacent perceptions of Bakhtin’s theories. Mikhail Gasparov (1937-2005), an important classicist and preeminent scholar of verse, published virulent criticisms of Bakhtin between 1979 and 2004. His problem with Bakhtin was essentially methodological. Lydia Ginzburg (1902-1990), known for her Notes of a Blockade Person and for scholarship on the genres of diary, memoir, personal letter, and writer’s notebook, questioned the psychological presuppositions behind Bakhtin’s theories of sympathy and love. Ginzburg also had serious doubts about Bakhtin’s idea of the polyphonic novel, and his use of the opposition between the monological and the dialogical to characterize the novels of Tolstoi and Dostoevsky. A close examination of the positions of Bakhtin and Ginzburg on love reveals interesting parallels and differences. The article concludes with suggestions about how Gasparov’s and Ginsburg’s criticisms can help us read Bakhtin in creative ways. KEYWORDS: Reception; Criticism; Methodology; Love; Polyphonic Novel

Creative Ways of Not Liking Bakhtin: Lydia Ginzburg and Mikhail Gasparov / Maneiras criativas de não gostar de Bakhtin: Lydia Ginzburg e Mikhail Gasparov

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Creative Ways of Not Liking Bakhtin: Lydia Ginzburg and Mikhail Gasparov / Maneiras criativas de não gostar de Bakhtin: Lydia Ginzburg e Mikhail Gasparov