Submitted by Valerij Tjupa and Wo... (not verified) on Mon, 14. April 2014
1. In Russia, by contrast, now few would dispute that the books published under the names of Vološinov and Medvedev really belong to Baxtin (at least on the level of ideas). I refer, for example, to the book of the most authoritative commentator of Baxtin’s Collected Works in 7 volumes Ljudmila Gogotišvili Neprjamoe govorenie (“Speaking indirectly”, Moscow 2006), and to the book of the fundamental researcher of Baxtin’s heritage Natan Tamarčenko Èstetika slovesnogo tvorčestva M. M. Baxtina i russkaja filosofsko-filologičeskaja tradicija (“M. M. Baxtin’s Aesthetics of Word Art and the Russian Philosophical-Philological Tradition,” Moscow 2011). I have personally researched the journal Zapiski Peredvižnogo teatra that was edited by Valentin Vološinov (V. I. Tjupa, “V poiskax baxtinskogo konteksta (‘Zapiski peredvizhnogo teatra’)” [“In Search of the Baxtinian Context”]. In Discourse. No. 3-4. Novosibirsk 2007), and there is little doubt that, from the “Nevel period” onwards, the linguist and philosopher, musicologist and poet Vološinov became a devoted disciple of Baxtin. There is also a reason why Baxtin did not publish Vološinov’s famous book under his own name: it was written in the language of Marxism; otherwise, it would not have been published. This problem does not arise in Problems of Dostoevskij’s Creation, for in this work there is no mention of Marxism.
I agree, however, that the word “successor” is not really appropriate in this context; it should be “disciple and follower” (učenik i posledovatel’).
Valerij Tjupa
2. Our Handbook’s policy is to render Russian names in the international scholarly transliteration rather than in any national transcription. Transcription maps the approximate sound of a Russian name and is language specific. The name of the Russian national poet in English transcription is Pushkin, in French Pouchkine, in German Puschkin, in Denish Pusjkin, in Catalan Puixkin, in Dutch Poesjkin. In the international scholarly transliteration, which strives to represent the characters of a language regardless of their pronunciation, it is Puškin. Trans¬literation facilitates library research and spares the user from making multiple searches in catalogues and data bases.
Wolf Schmid
Heteroglossia
Submitted by Valerij Tjupa and Wo... (not verified) on Mon, 14. April 20141. In Russia, by contrast, now few would dispute that the books published under the names of Vološinov and Medvedev really belong to Baxtin (at least on the level of ideas). I refer, for example, to the book of the most authoritative commentator of Baxtin’s Collected Works in 7 volumes Ljudmila Gogotišvili Neprjamoe govorenie (“Speaking indirectly”, Moscow 2006), and to the book of the fundamental researcher of Baxtin’s heritage Natan Tamarčenko Èstetika slovesnogo tvorčestva M. M. Baxtina i russkaja filosofsko-filologičeskaja tradicija (“M. M. Baxtin’s Aesthetics of Word Art and the Russian Philosophical-Philological Tradition,” Moscow 2011). I have personally researched the journal Zapiski Peredvižnogo teatra that was edited by Valentin Vološinov (V. I. Tjupa, “V poiskax baxtinskogo konteksta (‘Zapiski peredvizhnogo teatra’)” [“In Search of the Baxtinian Context”]. In Discourse. No. 3-4. Novosibirsk 2007), and there is little doubt that, from the “Nevel period” onwards, the linguist and philosopher, musicologist and poet Vološinov became a devoted disciple of Baxtin. There is also a reason why Baxtin did not publish Vološinov’s famous book under his own name: it was written in the language of Marxism; otherwise, it would not have been published. This problem does not arise in Problems of Dostoevskij’s Creation, for in this work there is no mention of Marxism.
I agree, however, that the word “successor” is not really appropriate in this context; it should be “disciple and follower” (učenik i posledovatel’).
Valerij Tjupa
2. Our Handbook’s policy is to render Russian names in the international scholarly transliteration rather than in any national transcription. Transcription maps the approximate sound of a Russian name and is language specific. The name of the Russian national poet in English transcription is Pushkin, in French Pouchkine, in German Puschkin, in Denish Pusjkin, in Catalan Puixkin, in Dutch Poesjkin. In the international scholarly transliteration, which strives to represent the characters of a language regardless of their pronunciation, it is Puškin. Trans¬literation facilitates library research and spares the user from making multiple searches in catalogues and data bases.
Wolf Schmid