This article is concerned with the relation between dialogism and art criticism. Dialogism is a notion introduced by Mikhail Bakhtin based on his analysis on the concept of polyphony which is borrowed from music. In this article, the importance of dialogism is discussed in philosophical anthropology, culture, and contemporary art criticism. Moreover, the notion of dialogism is studied in relation to Bakhtin’ s latest concepts of answerability and unfinalizability. Criticism is a dialogue between two semiological systems, for instance, between language and language or language and a visual semiological system. Therefore, dialogism is located within any criticism. This article discusses that the most important aspects of dialogic quality of the contemporary art criticism are the increased interactive role of the audience, the importance of the indeterminacy of meaning, and its receptiveness of other disciplines. Eventually, the development of a dialogic criticism among various artistic discourses which leads to the production of an artistic text has been discussed in this research. The approach of this work is a combination of approaches which an artistic research is concerned with, such as art, philosophy, linguistics, sociology, and cultural studies.

Dialogism is one if those theories in which the language and speech are seen as a social phenomenon. This theory which has had a significant impact on later critics and theorists has opened up new horizons for reading different texts through two main forms of polyphony and monophony. This study intends to analyze the degree of correspondence of this theory with Attar's narrative of “Revolution of Birds toward Phoenix” based on the dialogism of Mikhail Bakhtin. Further, it represents the elements like the truth, unity, and the relationship between the disciple and tutor makes a monophonic text from Mantegh-al-teir (language of the birds); however, there are some cases which have made the text polyphony. One of these cases is advancing the narrative by dialogue which causes the voice of other characters to be heard besides the writer's voice. Moreover, Hoopoe’s emphasis on the mass movement and emergence of otherness which leads to the collapse of the transcendental personality in Hoopoe, has also given a polyphony feature to Mantegh-al-teir by carnival of atmosphere and some signs of parody and stylization.

From an early age, Barres had familiarised himself with the works of Chateaubriand. Through the works of this writer an enthusiastic reader discovers unknown worlds, whether on the earth, or inside his own being. In fact, the reading instructs and encourages him to travel, or carries him to different places, a kind of journey in depth of one's soul.With admiration for his master, Barres embarks on journeys before presenting the “itinerary” of his own travels. Elation, and disillusion are in a sense always hand in hand. In this article, odyssey of Barres will be followed whilst outlining the specific role of Chateaubriand: fromadmiration and imitation to abandonment and reconciliation before succeeding to create literature in his own turn.   French: Barres et Chateaubriand: du dialogisme a l’intertextualite Des son tres jeune age, Barres se familiarise-t-il avec les livres de Chateaubriand. Fervent lecteur, il decouvre au travers des pages de cet ecrivain des mondes inconnus, soit sur la terre, soit a l’interieur de son etre. En realite, la lecture l’instruit, l’incite a se deplacer physiquement ou bien le transporte dans des endroits differents, une sorte de voyage dans les profondeurs de son ame.Par admiration pour son maitre, Barres entreprend des voyages avant d’offrir lui-meme son propre (Itineraire). L’exaltation et la desillusion sont, en ce sens, toujours au rendez-vous. Dans cet article, nous suivrons le parcours barresien tout en soulignant le role determinant de Chateaubriand: de l’admiration et de l’imitation a l’abandon et a la reconciliation avant d’arriver a son tour a la creation. Notre objectif est alors de pouvoir regrouper les entrecroisements, les incorporations ou tout simplement les dialogues entre les ecrits de ces deux ecrivains. Pour ce faire, on souligne notamment le long cheminement des ecrits barresiens, l’histoire de ses productions, de sa genealogie et les relations qui nouent les textes du disciple a son maitre a tous les niveaux.Keyword: Dialogisme, Intertextualite, Lyrisme, Engagement, Romantisme

Dialogic discourse is the product of Mikhail Bakhtin's thought, the theorist of human sciences in 20th century. This view wants to establish a permanent interaction between text, author and addresser and that actual knowledge is gained only through participations, differences and semantic contradictions of these three elements.In his opinion, discourse has a dialogic nature and dialogism is seen completely in the literary genre of novel because novel reflects different voices, languages and styles. Thus, novel is naturally polyphonic and due to this it is the main theme of Bakhtin’s studies.In this survey, it is attempted to prove this theory in Beyhaqi's History (Abolfazl-e Beyhaqi's work) and attention is paid to some of its elements such as fiction writing, secret saying, mimesis and dialectic.The method of this research is proving-analyzing and it investigates the components of dialogism like heteroglossia, polyphonicity and chronotope.

Mikhail Bakhtin presented "dialogism" and "polyphony" as remarkable components of modern literary novels. Since then, many literary critics including Kristeva and Genette began to expand, and offer a variety of presentations and configurations of these notions. Today, we can consider "intertextuality" as a common ground between the different interpretations of the theories of Bakhtine, Kristeva and Genette. Also, we can represent an inherent and holistic explanation of the concepts of "dialogism" and "polyphony" in a literary text. In contemporary Persian literature, the works of Simin Daneshvar is envisaged among the few literary creations that contain dialogism and its corollaries. Hence, in this paper, first, we aim to offer a detailed explanation of what dialogism is, and second, we will try to show how we can consider Daneshvar's Wandering Island as a dialogic literary text.

The contemporary literary theorists have examined different literary genres from different viewpoints. Among them Mikhael Bakhtin, a distinguished Russian literary critic, is a standout. Highlighting his key concept of dialogism, Bakhtin from among different literary genres describes the novel, specially Dastayovski's novels as possessing dialogic or Polyphonic quality. In such novels, the voice of the narrator isn’t dominant but is beside other voices. Among Persian literary classic texts, Masnavi-ye Manavi is one of the few texts in which the debates and dialogues between its story allegorical characters is considerably conformable to the components Bakhtin considers for dialogism. We raise and describe this conformability in this article.

Language is the fundamental of meaning and semantic in discourse, a system that is complex more than any other. In other words, a novel is a linguistic phenomenon that is an integration of different styles of speech, heteroglossia and voices where there exist dialogism relationships. Showing peculiarities of different social languages, a novel represents the dialogism relationship in a way that it can make the narratives more understandable because this multiplicity of languages is effective in the layer of discourse. Likewise, the knowledge of author about literary and non-literary texts is effective in creating inter-textual relationship with previous texts. A review of the novel language, from the view point of critical ‘dialogism’ shows how novelists apply special style, secrets, and phrase. A descriptive - analytical study shows dialogism features in the language of the novels of Ibrahim Koni. In his novels, Koni tries to portray desert and its creatures in a way that makes the desert an absolutely beautiful world with full of emotion. Even, he accords particular language to plants, animals and others desert objects. Further, he uses intertextual relationships between languages of his novel and a variety of other literary, mythological, religious and historical languages and changes the novel language into a tableau of dialogism based on language heterogeneity and ideology of desert creatures.

Most researchers of intertextuality consider Bakhtine’s view, especially his polyphony and dialogism, as the point of departure in their discussions. This owes to the fact that it was Bakhtine’s ideas which paved the way for Julia Kristova, as the founder of intertextuality, and resulted in a new approach in literary and art theorizing and criticism. Bakhtin confronted at least three dominant movements in his time; movements attributed to linguists, formalists and literary critics, all of which, despite their differences, shared common views on textual studies. Bakhtine believed in the hyper-linguistic and intertextual relations, specifically social hypertexts, and knew that they had a significant effect on literary texts. He had diverse and thorough ideas, yet in this paper, we are only trying to focus on the ideas which are related to intertexts, namely Dialogism and Polyphony. Therefore, this paper is trying to address one major problem and that is “the study of the relationship between Bakhtine’s Dialogism and Kristova’s Intertextualism and the impact of the former on the latter”.

Among the various types of rhetorical figures applied in Shahnameh, metaphor is one of the most effective examples of rhetorical devices. Ferdowsi has been able to imagine, exaggerate, move and depict it at the same time by using it as a means to create discursive space and dialogic atmosphere. Since we encounter with the text of discourse in the Shahnameh, we find that every word is a way toward the perception of the former and a way to perceive the word of the future. Each word treats another word or it targets the belief system of the target audience. So, braggadocio is a dialogic-discursive system in which metaphore plays a key role. According to Bakhtin's theory, there is a close relationship between dialogue and polyphony, and language is also "dialogic" in its nature, regardless of what the answer will actually be. Polyphony is also a dialogic feature, and Shahnameh is also a Polyphonic-dialogic text. The purpose of the present research is to investigate the relationship between the braggadocio of Shahnameh with making narration by relying on Bakhtin's dialogic theory and its relationship with metaphor, and to show how this feature interferes with the restoration of action, suspension, and delay. It can lead to a dialogic atmosphere and extend it to transfer actions.

The present article studies the dialogic factors in Simin Behbahani’s poems (1306-1393) based on Mikhail Bakhtin’s dialogism. Behbahani, one of the founders of Neo-Persian ghazal, uses her poems to communicate with her audience through presenting a fresh view of human beings and society. To achieve this aim, she uses modern language and narrative and fictional expressions, presenting her dialogues in different ways to introduce polyphony to her poetry. In this article, we try to use an analytical-descriptive method to answer these fundamental questions: what techniques cause polyphony in Simin Behbahani's lyric poems and what effect do the poet's poetic themes have in this regard? We argue that in her love poems, Simin uses her poetic individuality to speak to her lover in simple and fluent language, and to explain her romantic relationships in great detail. Furthermore, by dealing with romantic-social, domestic and political-social themes, and especially criticizing the situation of women, and by using techniques such as narration, conversation monologues, and through the use of intertextuality, rhetorical propositions, grotesque and carnival, she has established an emotional connection with the elements around her and has provided the conditions for the presence of the "other" in her poetry to create a polyphonic atmosphere as opposed to the monologic atmosphere of traditional poetry.