This is explained in Marc Angenot and Bruce by reference to Bakhtin : In Bakhtin's dialogism, the utterance is the natural meaningful and finalised unit of speech, which others are supposed to respond to, that is, others " interpret the utterance by situating it in a discursive context ".
12.
Bakhtin s primary works include " Toward a Philosophy of the Act, " an unfinished portion of a philosophical essay; " Problems of Dostoyevsky s Art, " to which Bakhtin later added a chapter on the concept of carnival and published with the title " Problems of Dostoyevsky s Poetics "; " Rabelais and His World, " which explores the openness of the Rabelaisian novel; " The Dialogic Imagination, " whereby the four essays that comprise the work introduce the concepts of dialogism, heteroglossia, and chronotope; and " Speech Genres and Other Late Essays, " a collection of essays in which Bakhtin concerns himself with method and culture.
13.
Canby also called the film " sad and embarrassing ", quoted by Keith Harrison in the introduction to his " Bakhtinian Polyphony in Godard's King Lear ", in which he cites the critical responses of Peter S . Donaldson, Alan Walworth and Anthony R . Guneratne for their sustained coherence of analysis of " King Lear ", and discusses the film in terms of Mikhail Bakhtin's interrelated concepts of dialogism, the carnivalesque, heteroglossia, the chronotope, co-authoring, polyglossia, inter-illumination, refraction, unfinalizability, and polyphony, to show that " Godard's autobiographical and densely fragmented re-creation of Shakespeare's King Lear is carefully shaped, meaningful, and, ultimately, compelling in its multi-voiced unity ."
