The dialogical poetics of song: a conceptual reflection based on the Bakhtinian framework

Abstract

The purpose of this article is to discuss the concepts of poetics proposed by the authors of the Bakhtin’s Circle, who are: Sociological Methodology (Volochinóv), the Formal Method (Medviédev) and dialogical poetics (Bakhtin). The methodology will consist of analyzing the differences and similarities between the parameters that underlie the thinking of each theory regarding poetics and their relationships with their own worldviews and philosophical theories, for example: the expression generated from ideology in the case of the author Volóchinov, the concept of work as data external to consciousness in the formalist view and shaped from Medviédev’s criticisms; and poetics in a dialogical, open and participatory form in Bakhtin’s vision given in the example of Dostoievski’s polyphonic novel and glimpsed here in the musical field, more specifically in song. As a partial result, we intend to show why the Bakhtinian vision seems more complete about a theory of dialogical poetics, based on the creative act as a choice and not on a pre-established aesthetic adequacy, disseminated in the means of expression through a complex relationship between forces and with performance as the solidification of this creative process, as well as perception and fruition also acting in the poetic process. This last argument seems to be the main path of the theoretical contribution of the thesis in progress, which has as its main objective the creation of a system of analysis of the creative processes of song through the poetic activity of guitarist composers