Жанровые идеи М.М. Бахтина

Abstract

M. M. Bakhtin's views on genre were formed in the 1920-ics and 1930-ies during the polemics with the formal and sociological schools and echoed with the researchs being carried on at the time by O. M. Freidenberg, I. A. Vinogradov, V. J. Propp. The main scientific principle of Bakhtin was studying genre in connection with the laws of esthetic, culturał and artistic development, Bakhtin determined the function of genre as a realization of the law of artistic completeness. Rejecting formal interpretations of artistic completeness Bakhtin started to do research on what he called the content element of genre form. While researching the genesis of genres he came to the conclusion that any genre form embodies a certain interpretation of the world and preserves its semantic activity during the whole of the lite-time of the genre. M. M. Bakhtin considered the popular „laughter” culture to be an eternal sourse. supplying the semantic of newly-born and renewed genre forms. When the scientist turned to the study of the genre structure, he distinguished the following genre-forming elements: speech organization, correlation of the narrators' points of view, spatial and temporary organization (chronotop). Each of these elements is imbued with a gnoseological and axiologica| sense and plays a world-modelling" role. Bakhtin's formula „art model of the world” accumulates the semanctic of a genre as a type of the art structure, that serves to organize a creative work into an image of the worłd, where the wholeness of the esthetic conception of reality is thus embodied. In this way the functional, genetic and structure aspects of genre are bcing brought together. Having been functionally separated, genre in Bakhtin's conception appears to form a vitally important unity with style and method. It is „via genre”, that Bakhtin discovers more common laws in art, such as: word-polyphony found by him in the novel appcars to be an essential law ot realistic prose (and even poetry); Bakhtin's juxtaposition of epic and novel lead to an explanation of the difterence betwcen the prerealistic methods and that of realism. The genre ideas propounded by M. M. Bakhtin should be carefully studied. It is absolutely clear even of this stage, that they open up new perspectives in the systematic study of genre: its internal structure as the content element of genre form, its associations with other art cathegories (method and style), its connections with social, esthetic and art factors, and lastly its role in the shaping of historical-literary regularities.