Ecofeminist philosophy and literary theory need mutually to enhance each other's critical praxis. Ecofeminism provides the grounding necessary to turn the Bakhtinian dialogic method into a critical theory applicable to all of one's lived experience, while dialogics provides a method for advancing the application of ecofeminist thought in terms of literature, the other as speaking subject, and the interanimation of human and nonhuman aspects of nature. In the first part of this paper the benefits of dialogics to feminism and ecofeminism (...) are explored; in the second part dialogics as method is detailed; in the third part literary examples are discussed from a dialogical ecofeminist perspective. (shrink)

(2001). An alternative strategy for transcultural communication: Dialogic understanding of multiple voices. World Futures: Vol. 57, Future Trends in Communications Strategies, pp. 583-597.

In Woman and Nature: The Roaring Inside Her, Susan Griffin's embedding of language and culture within the natural world implicitly offers a critique of widespread assumptions, shared by many feminists, that language belongs only to the powerful and that it is inherently violent. Griffin's depiction of the process through which women come to speech is illuminated by V. N. Vološinov's work on the multiaccentuality of language and by Trinh Minh-ha's characterizations of oral traditions. Both authors stress the constant re-creation of (...) language by speakers and listeners. (shrink)

This article examines recent scholarly work on boredom by drawing on Mikhail Bakhtin’s account of modernity, irony, and mass skepticism. In The Arcades Project, Walter Benjamin noted that, beginning in the 1840s, Western societies had been gripped by an “epidemic of boredom.” He was referring to a peculiarly modern form of mass boredom, associated with the “atrophy of experience” in a mechanized and urbanized social life—a boredom Elizabeth S. Goodstein has characterized as the “democratization of skepticism.” Although Bakhtin says little (...) about “boredom” directly, he probes the sociocultural conditions that give rise to it. Bakhtin, for example, celebrates the liberatory and egalitarian promise of modern vernacular speech, which displays a healthy suspicion of “monotonic” qualities of elite genres, and which springs not from the pulpit or the palace, but from the street, the marketplace and the public square. Bakhtin is concerned about the nihilistic implications of this disenchantment of the world and the threats it poses—indifference, reification and alienation—to the “participative” mode of social life he favours. (shrink)

This paper will focus on the discussion of Tolstoy’s ideas in the late 1920s, right after the 100th anniversary of the writer’s birth, by the State Academy for the Study of Arts (GAKhN) (in a collective volume entitled Leo Tolstoy’s Aesthetics, 1929) and by Mikhail Bakhtin (in his two articles written specially for Tolstoy’s Collected Works). These interpretations were notably influenced by the official commemoration of Tolstoy during the anniversary year and by changes in the prevailing Marxist discourse regarding the (...) creative legacy and ideology of the author of War and Peace. (shrink)

In Woman and Nature: The Roaring Inside Her, Susan Griffin's embedding of language and culture within the natural world implicitly offers a critique of widespread assumptions, shared by many feminists, that language belongs only to the powerful and that it is inherently violent. Griffin's depiction of the process through which women come to speech is illuminated by V. N. Vološinov's work on the multiaccentuality of language and by Trinh Minh-ha's characterizations of oral traditions. Both authors stress the constant re-creation of (...) language by speakers and listeners. (shrink)