From Wikipedia, the free encyclopedia

In linguistics, the term heteroglossia describes the coexistence of distinct varieties within a single linguistic code. The term translates the Russian raznorechie (literally "different-speech-ness"), which was introduced by the Russian linguist Mikhail Bakhtin in his 1934 paper Slovo v romane, published in English as "Discourse in the Novel."

Contents 1 Concept 1.1 Ideological content 1.2 Diachronic evolution 2 Heteroglossia in literary criticism 3 Influence of the concept 4 References

The normalization of linguistic forms (or monoglossia) is perceived as an important cause as language is, for Bakhtin, not simply a formal system of grammatical categories, but also the highly charged medium of verbal-ideological thought. The imposition of a standard form, thus, carries with it the strong ideological conventions of the dominant class.

Bakhtin views language as not neutral, even when not explicitly charged with ideological meaning. The categories of language — especially semantics, but also the notions of appropriateness ingrained through the patterns of prosody, and the pragmatic conventions of conversation — articulate a particular world-view. A certain word, for example, can be marked as distinctive by the common usage of a given group; this is sometimes the explicit function of in-group jargon.

This state of affairs, however, is not definitive; lexical, syntactic and phonological elements are adopted and discarded in the course of time in the different languages. The exact meaning of a word depends on context: It is not simply what is, in conventional linguistics, standardised as its denotation, but it is the full range of contents the word transmits. This includes evaluative connotations and adscription to a specific dialect. It is important to notice that not even the denotation can be taken as a neutral, generic value; even an aseptic usage carries the connotations of academicism and formalism associated with exclusively denotative discourse.

Meaning is therefore not produced according to a unitary, disembodied system expressed in formal norms, but rather emerges from the deployment of these norms by specific users, in specific settings, for specific purposes. Each specific utterance adds to the preexisting context and may change the rules according to which its hearers will subsequently understand and employ language.

This influence should not be overstated; the actual weight of individual, private utterances may be minute. However, in connection with a given social practice it may lead to the development of a speech genre, which stabilises the trend and pits it against competing usages and perspectives. Heteroglossia is present at the microlinguistic scale, which means that the interpretation of any speech event requires close analysis of those preceding and succeeding it; however, it becomes stable only at a macrolinguistic level. The degree of context-dependence varies according to the dialect, the situation and the historical moment. In any case, all three must be evaluated to understand the specific act.

Bakhtin viewed the modernist novel as a literary form best suited for the exploitation of heteroglossia, in direct contrast to epic poetry (and, in a lesser degree, poetry in general). The linguistic energy of the novel was seen in its expression of the conflict between voices through their adscription to different elements in the novel's discourse.

Bakhtin's view of heteroglossia has been often employed in the context of the postmodern critique of the perceived teleological and authoritarian character of modernist art and culture. In particular, the latter's strong disdain for popular forms of art and literature — archetypically expressed in Adorno and Horkheimer's analysis of the culture industry — has been criticised as a proponent of monoglossia; practitioners of cultural studies have used Bakhtin's conceptual framework to theorise the critical reappropriation of mass-produced entertainment forms by the public

• Bakhtin, M.M. (1981). in Michael Holquist ed.: The Dialogic Imagination: Four Essays. Austin: University of Texas Press. ISBN 0-292-71534-X. 

• Bakhtin, M.M. (1993). in Caryl Emerson and Michael Holquist ed.: Speech Genres, and other Late Essays. Austin: University of Texas Press. ISBN 0-292-72046-7. 

• Bakhtin, M.M. (1994). in Pam Morris ed.: The Bakhtin Reader. Oxford: Oxford University Press. ISBN 0-340-59267-2. 

• During, S. (ed) (1993). The Cultural Studies Reader. London: Routledge. ISBN 0-415-07709-5. 

• Zbinden, K (1998). "Traducing Bakhtin and Missing Heteroglossia". Dialogism: An International Journal of Bakhtin Studies 2.