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@@ -1127,6 +1127,8 @@
 
 <li>Bakhtin</li>
 
+<li>Bakhtin Problems of Dostoevsky's Poetics</li>
+
 <li>Balance</li>
 
 <li>balcetisconsideringsituationwhy2013</li>
@@ -6459,8 +6461,6 @@
 
 <li>New Tiddler 11</li>
 
-<li>New Tiddler 12</li>
-
 <li>New Tiddler 2</li>
 
 <li>New Tiddler 3</li>
@@ -10636,7 +10636,7 @@
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 {"title":"Bakhtin","text":"compositional vs architectonic\n\nTraditional russian All-Unity but for him that unity must be made of heterogeneous voices(Caryl Emerson, April 2019)\n\nPhilosophical goal: identify areas where we can escape from the illusion of separate individual. The self only makes sense in the context of other voices. THis theme emerges in both [[carnival]] and [[dialog]]  (emerson 2019)","created":"20220920170715525","modified":"20240317223322518","tmap.id":"afd59e06-6a3c-497c-95c5-3aeac0cdf92d"},
+{"created":"20241216182407212","text":"!!09/12/24 [[Bakhtin]] Problems of Dostoevsky's Poetics. Chapter Four. Genre and Plot-Compositional Features of Dostoevsky's Works.\n\n(google translated from my Russian) [[Russian thought with Elena]]\n\n[[Bakhtin]] traced the literary tradition that was carried to Dostoevsky's novels - the [[carnival]] genre - and its development in the form of Socratic dialogue, Menippean satire and the adventure genre. When Bakhtin discussed Socratic dialogue and Menippean satire, we saw that from the very beginning, we will find in carnival literature the fundamental aspects of polyphony: \"provocation and testing of truth\" ideas that live through people (\"hero-ideologist\"), and a cacophony of simultaneous overlapping and contradictory ideas (\"the world in reverse\"). \n\nBakhtin wrote that \"the ancient menippea does not yet know [[polyphony]]\" and \"in essence, all the features of the menippea (of course, with the corresponding modifications and complications) we will find in Dostoevsky.\" But what are these modifications and complications? Could we discuss this? For example, Bakhtin claimed that the Socratic dialogue is syncretic. There is a conclusion. (I do not think that I completely agree. Many dialogues will end with \"aporia.\") But he did not say whether the Menippean satire is syncretic. \n\nI am also interested in talking about the connections between what Bakhtin wrote here and [[semiotics]] and formalism. As for semiotics, the clearest connection is \"Carnival developed a whole language of symbolic concrete-sensory forms - from large and complex mass actions to individual carnival gestures.\" But more generally, I am interested in the extent to which Bakhtin would agree with a semiotic reading of genres. Are genres defined by their \"signifieds\" and \"signifiers\"? //[[Tynyanov]] literary [[evolution]]//\n\nAs for [[Formalism]], what is the difference between the central role that Bakhtin gave to historical tendencies when he explained Dostoevsky's works and the formalist study of historical tendencies in art? Is it that Bakhtin is simply more interested in the man - Dostoevsky - and his contribution than the Forsalists would be? Also, I was thinking about defamiliarization when I read \"This is a special manifestation of the carnival category of eccentricity, a violation of the usual and accepted, a life brought out on its usual track.\" Is it true that I see [[defamiliarization|Shklovsky]] in the carnival?\n\n!! 12/14/24 Babok and Bakhtin\n\nBakhtin wrote that \"Bobok\" is a Menippean story but is it also polyphonic? You can correct me of course but it seems that polyphony cannot exist when the author has no respect for the characters and in \"Babok\" I am afraid that Dostoevsky does not respect the dead characters. It is difficult to find anything in them for which one can respect. They are petty, egotistical, everything they say is meaningless or when there is meaning it is because they are bragging about how bad they are.\n\nI am now rereading what I wrote and I think that the situation may be more complex than just a question of respect. I think of a character as Fyodor Karamazov. We do not feel respect for him. But it seems that Dostoevsky cares about him and what he wants to say. (I'm not convinced he cares about the characters in Bobok.) And that's why[[ The Brothers Karamazov]] is polyphonic.\n\nI'm interested in how these ideas relate to humor and laughter. Bakhtin explained the \"purifying sense of ambivalent laughter\" of carnival and Dostoevsky this way: \"nothing final has happened in the world yet, the last word of the world and about the world has not yet been said, the world is open and free, everything is still ahead and will always be ahead.\" He contrasts this with \"one-sided, dogmatic seriousness.\" But the laughter in Bobok seems one-sided and dogmatic - there is no ambivalence and it does not mean that \"the world is open and free, everything is still ahead and will always be ahead.\" Perhaps we can discuss the difference between monologue and polyphonic laughter and the role of ambivalent laughter in this dichotomy? \n\nThis is a completely different topic, but I was also thinking about the theme that “everything is permitted,” which Bakhtin reminded us is very important for [[Dostoevsky]]. Usually, the context is that everything is permitted if there is no God. But in “[[Bobok]],” we also see that corpses think that everything is permitted if they have no shame (“Oh, how I want to be ashamed of nothing!”). The only thing that stopped people from doing bad things when they were alive was shame. It seems that Dostoevsky wants to say that if they need shame to be good, they have no internal moral compass — they are only afraid of what society will think of them. To me, the logic is similar when we talk about people who think that everything is permitted if there is no God. They have no internal moral compass — they are only afraid of punishment. But I don’t know what Dostoevsky thought about the idea that everything is permitted if there is no God. Did he think it was similar to shame?","tags":"","title":"Bakhtin Problems of Dostoevsky's Poetics","modified":"20241216182840682"},
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 {"created":"20241008012318998","title":"balcetisconsideringsituationwhy2013","bibtex-entry-type":"article","bibtex-title":"Considering the {Situation}: {Why} {People} are {Better} {Social} {Psychologists} than {Self}-psychologists","bibtex-volume":"12","bibtex-issn":"1529-8868","bibtex-shorttitle":"Considering the {Situation}","bibtex-url":"https://doi.org/10.1080/15298868.2011.617886","bibtex-doi":"10.1080/15298868.2011.617886","bibtex-abstract":"Are people better self- or social psychologists when they predict prosocial behavior? Why might people be more or less accurate when predicting their own and others' actions? In two studies, participants considered variants of situations classically known to influence helping behavior (being alone vs. in a group, being in a good rather than bad mood). Participants made predictions about how they and their peers would act. Their predictions revealed that participants incorporated situational variations into social predictions, yet failed to do so when making self-predictions. These errors in self-prediction were not generated by response scale-type. This evidence suggests that people more appropriately use their knowledge of situational pressures when engaging in social rather than self-predictions.","bibtex-number":"1","bibtex-urldate":"2024-10-05","bibtex-journal":"Self and Identity","bibtex-author":"Balcetis, Emily and Dunning, David","bibtex-month":"jan","bibtex-year":"2013","bibtex-note":"Publisher: Routledge\n\\_eprint: https://doi.org/10.1080/15298868.2011.617886","bibtex-keywords":"Above average effect, Accuracy, Motivation, Situation, Social predictions","bibtex-pages":"1--15","bibtex-file":"Full Text PDF:/Users/noaperlmutter/Zotero/storage/RTZKI7HW/Balcetis and Dunning - 2013 - Considering the Situation Why People are Better S.pdf:application/pdf","modified":"20241008012318998","tags":"bibtex-entry","tmap.id":"15770e35-d451-4ddb-8541-7c92c4e826e6","text":""},
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@@ -13639,7 +13640,6 @@
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 {"created":"20241025125911482","text":"Testing testing October 25","tags":"","title":"New Tiddler 10","modified":"20241025125925652"},
 {"created":"20241202160010286","text":" Inspirational affective neuroscience\n\n* temporal dynamics of emotions \n* representations in mind brain and body\n* emotion regulation\n\nJames-Lange theory: feelings and emotions are secondary to physiological responses. \nCannon-Bard theory: physiological and emotional responses are simultaneous. Coordinated by thalamus\nschachter-Singer theory. Bodily states must be accompanied by cognitive appraisal for an emotion to occur\n\n\nBasic emotion theory: emphasis on representation. Ekman seven basic emotions. Horikawa et al 2020 decoding emotional states from fmri. Distributed across brain regions. \n\nPsychological construct theory: constructed from few dimensions: valence and arrousal and now also motivation intensity. Nonlinear chaos theory models of affective trajectories. \n ","tags":"","title":"New Tiddler 11","modified":"20241202165945708"},
-{"created":"20241216182407212","text":"09/12/24 Bakhtin Problems of Dostoevsky's Poetics. Chapter Four. Genre and Plot-Compositional Features of Dostoevsky's Works.\n\n(google translated from my Russian) [[Russian thought with Elena]]\n\n[[Bakhtin]] traced the literary tradition that was carried to Dostoevsky's novels - the [[carnival]] genre - and its development in the form of Socratic dialogue, Menippean satire and the adventure genre. When Bakhtin discussed Socratic dialogue and Menippean satire, we saw that from the very beginning, we will find in carnival literature the fundamental aspects of polyphony: \"provocation and testing of truth\" ideas that live through people (\"hero-ideologist\"), and a cacophony of simultaneous overlapping and contradictory ideas (\"the world in reverse\"). \n\nBakhtin wrote that \"the ancient menippea does not yet know [[polyphony]]\" and \"in essence, all the features of the menippea (of course, with the corresponding modifications and complications) we will find in Dostoevsky.\" But what are these modifications and complications? Could we discuss this? For example, Bakhtin claimed that the Socratic dialogue is syncretic. There is a conclusion. (I do not think that I completely agree. Many dialogues will end with \"aporia.\") But he did not say whether the Menippean satire is syncretic. \n\nI am also interested in talking about the connections between what Bakhtin wrote here and [[semiotics]] and formalism. As for semiotics, the clearest connection is \"Carnival developed a whole language of symbolic concrete-sensory forms - from large and complex mass actions to individual carnival gestures.\" But more generally, I am interested in the extent to which Bakhtin would agree with a semiotic reading of genres. Are genres defined by their \"signifieds\" and \"signifiers\"? //[[Tynyanov]] literary [[evolution]]//\n\nAs for [[Formalism]], what is the difference between the central role that Bakhtin gave to historical tendencies when he explained Dostoevsky's works and the formalist study of historical tendencies in art? Is it that Bakhtin is simply more interested in the man - Dostoevsky - and his contribution than the Forsalists would be? Also, I was thinking about defamiliarization when I read \"This is a special manifestation of the carnival category of eccentricity, a violation of the usual and accepted, a life brought out on its usual track.\" Is it true that I see [[defamiliarization|Shklovsky]] in the carnival?","tags":"","title":"New Tiddler 12","modified":"20241216182534783"},
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 {"created":"20240926000101245","text":"[[hello hello]]","tags":"","title":"New Tiddler 4","modified":"20240926000108006","tmap.id":"5955cc1f-60b7-42bf-bddc-3657ac8d9584"},