By Robyn McCallum
This paintings examines the illustration of selfhood in adolescent and kid's fiction, utilizing a Bakhtinian method of subjectivity, language and narrative.
Read or Download Ideologies of Identity in Adolescent Fiction: The Dialogic Construction of Subjectivity (Garland Reference Library of Social Science) PDF
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Extra info for Ideologies of Identity in Adolescent Fiction: The Dialogic Construction of Subjectivity (Garland Reference Library of Social Science)
There are three main strategies for representing and organizing polyphony, which have become increasingly more common in contemporary adolescent fiction. These are the use of multiple character focalizers or narrators, implicit and explicit forms of intertextuality, and the use of multistranded narrative. These strategies are not exclusive, and are in fact often combined in various ways, and they all tend to foreground polyphony. In Goldengrove (1972/1985) Walsh uses three character focalizers and extensive intertextual references; The Chocolate War (Cormier, 1974/1988) has thirteen character focalizers.
They use multiple narrators or character focalizers and multistranded narration, or overtly intertextual and heteroglottic forms of discourse to foreground the polyphonic and dialogic structuring of the narrative discourse. Chapter 2 outlines dialogic narrative strategies for representing intersubjectivity, in particular intertextuality, polyphony, and multivoiced and multistranded narration. Here I argue that the representation of characters as subjects is contingent upon their construction within a narrative as focalizing agents and that the representation of intersubjectivity in narrative depends on the inclusion of two or more character focalizers.
HETEROGLOSSIA, POLYPHONY AND THE NOVEL Bakhtin’s theory of the novel centers on its representation of language and of the speaking person. For Bakhtin, the novel is an inherently heteroglottic and intertextual genre which appropriates and represents various primary speech 25 genres as well as other socially stratified languages, both literary and extraliterary, from within a heteroglossia (1981, pp. 301–330; 1986, pp. 65–67). It characteristically deploys a range of narrational strategies, voices and discursive styles and is thus defined by a diversity of social speech types and a diversity of individual voices.