front cover of The Dialogic Imagination
The Dialogic Imagination
Four Essays
By M. M. Bakhtin
University of Texas Press, 1982

These essays reveal Mikhail Bakhtin (1895-1975)—known in the West largely through his studies of Rabelais and Dostoevsky—as a philosopher of language, a cultural historian, and a major theoretician of the novel. The Dialogic Imagination presents, in superb English translation, four selections from Voprosy literatury i estetiki (Problems of literature and esthetics), published in Moscow in 1975. The volume also contains a lengthy introduction to Bakhtin and his thought and a glossary of terminology.

Bakhtin uses the category "novel" in a highly idiosyncratic way, claiming for it vastly larger territory than has been traditionally accepted. For him, the novel is not so much a genre as it is a force, "novelness," which he discusses in "From the Prehistory of Novelistic Discourse." Two essays, "Epic and Novel" and "Forms of Time and of the Chronotope in the Novel," deal with literary history in Bakhtin's own unorthodox way. In the final essay, he discusses literature and language in general, which he sees as stratified, constantly changing systems of subgenres, dialects, and fragmented "languages" in battle with one another.

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front cover of The Politics of Dialogic Imagination
The Politics of Dialogic Imagination
Power and Popular Culture in Early Modern Japan
Katsuya Hirano
University of Chicago Press, 2013
In The Politics of Dialogic Imagination, Katsuya Hirano seeks to understand why, with its seemingly unrivaled power, the Tokugawa shogunate of early modern Japan tried so hard to regulate the ostensibly unimportant popular culture of Edo (present-day Tokyo)—including fashion, leisure activities, prints, and theater. He does so by examining the works of writers and artists who depicted and celebrated the culture of play and pleasure associated with Edo’s street entertainers, vagrants, actors, and prostitutes, whom Tokugawa authorities condemned to be detrimental to public mores, social order, and political economy.

Hirano uncovers a logic of politics within Edo’s cultural works that was extremely potent in exposing contradictions between the formal structure of the Tokugawa world and its rapidly changing realities. He goes on to look at the effects of this logic, examining policies enacted during the next era—the Meiji period—that mark a drastic reconfiguration of power and a new politics toward ordinary people under modernizing Japan. Deftly navigating Japan’s history and culture, The Politics of Dialogic Imaginationprovides a sophisticated account of a country in the process of radical transformation—and of the intensely creative culture that came out of it.
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