Dialogism
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Where it appears in the corpus (2)
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#01
Powers of Horror: An Essay on Abjection · Julia Kristeva · p.148
POWERS OF HORROR > CELINE: NEITHER ACTOR NOR MARTYR
Theoretical move: Kristeva argues that Céline's literary style operates as a site of abjection that cannot be reduced to thematic content, biography, or politics: through rhythm, carnivalesque polyphony, and an apocalyptic style that hovers between disgust and laughter, Céline transforms the abject into a writing practice that both enacts and momentarily stabilizes the dissolution of the subject — his anti-Semitism being readable as a symptomatic counterweight (a delirium) against the very identity-dissolution that his scription unleashes.
Bakhtin has shown that there is a fundamental dialogism, a basic bivalence in any speech, word, or utterance in novels stemming from carnivalesque tradition
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#02
Powers of Horror: An Essay on Abjection · Julia Kristeva · p.205
POWERS OF HORROR > SEGMENTATION: INTONATION, SYNTAX, SUBJECTIVITY
Theoretical move: Kristeva argues that Céline's colloquial syntactic "segmentation" (theme/rheme displacement, binary intonation) is not regression to pre-symbolic stages but an *over-syntacticism* — a surplus charging of enunciative processes on top of normative syntax — through which the subject of enunciation is constituted and the death drive is symbolically integrated.
Such a psychological interpretation has the advantage of clarifying certain of Bakhtin's positions with reference to dialogism in a number of novelistic writings, particularly those of Dostoyevsky.