By Bakhtin, Mikhail Mikhaĭlovich; Wussow, Helen; Hohne, Karen Ann; Bakhtin, M
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Additional info for A Dialogue of voices : feminist literary theory and Bakhtin
26 In an erotophobic culture that tried to define indecency as "calculated to arouse sexual passion,"27 he deployed the love lyric as a strategy of poetic resistance; in a bourgeois culture he marshaled the popular resonances of the ballad. Throughout the Crazy Jane poems, the symbiosis between the pure woman and the nation, a product of male fantasy, is ironized and ruptured. Crazy Jane speaks as a sexual woman, but also as one of the disenfranchised subaltern groups ignored by the new state: the rural poor.
Each of us, male and female, is invited to consider the presence of the other within. Cixous describes this dynamic in terms of the "other bisexuality" mentioned briefly earlier: Bisexuality: that is, each one's location in self (reperage en soi) of the presence — variously manifest and insistent according to each person, male or female —of both sexes, non-exclusion either of the difference or of one sex, and, from this "self-permission," multiplication of the effects of the inscription of desire, over all parts of my body and the other body.
2 Although the historical analogies between Bakhtin's Marxist espousal of the folk and Yeats's aristocratic "Dream of the noble and the beggarman" 3 cannot be pressed too far, their juxtaposition is suggestive. 4 The "discrowning" populism he shares with Bakhtin defines itself in opposition to the social and political repression that followed the Irish and Bolshevik revolutions. When the Russian peasants were resisting forced collectivization, Bakhtin celebrated the spontaneous collectivity of folk festival and humor.