Mikhail Bakhtin on the Dialogical Method and the Polyphony of Fyodor Dostoevsky Introduction: Revolution in the Theory of the Novel The concept of dialogism and polyphony developed by Mikhail Bakhtin in his book "Problems of Dostoevsky's Poetics" (1963, revised edition) brought about a revolution in literary studies and the philosophy of culture. Bakhtin proposed not just a new interpretation of Dostoevsky's work but a radically new theory of artistic thinking and human consciousness. His analysis showed that Dostoevsky created not just novels with many characters but a fundamentally new type of novelistic whole — the polyphonic novel, where the author's position does not dominate over the consciousness of the characters. 1. The Essence of Polyphony: "The Multiplicity of Independent and Unfused Voices" Bakhtin borrowed the term "polyphony" from music, where it denotes the simultaneous sound of several independent, equal melody lines (voices). Transferring this metaphor to literature, he formulated a key thesis: In Dostoevsky's works, it is not the multiplicity of characters and fates in a single objective world illuminated by a single authorial consciousness, but the multiplicity of equal consciousnesses with their worlds that combine, preserving their unfusion, into the unity of some event. This meant a break with the traditional monological novel, where all characters, their thoughts, and actions are the object of a final evaluation and understanding by the all-seeing author-creator. According to Bakhtin, Dostoevsky's authorial consciousness stands on an equal footing with the consciousnesses of the characters. The author does not judge Raskolnikov or Ivan Karamazov from a height of truth but positions himself as a participant in a dialogue with them. His strength lies not in final knowledge about the character but in the ability to make the internal logic, incompleteness, and "unresolvability" of each consciousness visible and audible. Interesting fact: Bakhtin ... Read more