Dialogic Elements of Bakhtin in the Novel Siddhartha
| Main Author: | Karsono, Ong Mia Farao |
|---|---|
| Format: | Article PeerReviewed application/pdf |
| Terbitan: |
, 2014
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| Subjects: | |
| Online Access: |
https://repository.petra.ac.id/16303/1/Publikasi1_06003_1115.pdf https://repository.petra.ac.id/16303/ |
Daftar Isi:
- This article analyzes the voices of the characters which are intertwining into dialogic forms. The voices did not demonstrate its own power, but rather let other voices have its own characteristic while remaining there until the end of the story. For example, Siddharthas parents voices remained a Brahmin . Govinda’s voice remained a Samana . Mikhail Bakhtin called such characteristic dialogue as Internally Persuasive Discourse . Apparently this novel is loaded full of Bakhtins carnival behavior, because the composition and the plot of the story, or the position of the author as well as the dialogue, a hallmark of Socratic Dialogue or Menippean Satire . Unveiling Bakhtin’s carnival stage, a variety of scandals, eccentric behaviors, ethic violations, sharp contrasts appear. The polyphony nature in this novel is in the form of counterpoint models voices intertwined together without negating each other, similar to the Weltemperklavier by Johan Sebastian Bach in the Baroque music era.