The argument focuses on late-twentieth and early-twenty-first Anglo-American works featuring an implicitly or explicitly dialogized narrative structure-Don DeLillo’s Underworld, Spike Lee’s Do the Right Thing, Robert Altman’s Short Cuts, John Sayles’s Lone Star, Paul Haggis’s Crash, or Stephen Bochco’s NYPD Blue.

This paper evaluates the status of dialogical novels, films, and TV fictions with regard to various modes of contemporary realism.

2 Leon Roudiez, introduction to Desire in Language, 1–5. This work has not been translated into English, but one of its sections can be found in Toril Moi's The Kristeva Reader, under the title ' From Symbol to Sign, ' 62–73. In a 1985 interview with Margaret Waller, Kristeva 1 In Le Texte du Roman, Kristeva analyzes Antoine de la Sale's Histoire et plaisante chronique du petit Jehan de Saintré et de la jeune dame del Belles Cousines (1456) as an example of the shift from the Medieval notion of the symbol to the Renaissance notion of the word as sign.

At that time, Kristeva, like Bakhtin, had a view of novelistic discourse as a specific kind of literary language with a particular dynamic, a dialogic transgressive dynamic which operates not only on the level of the word but also on the level of theme, narrative structure (plot, story, and narration), character and ideology. Although her semiotic work was from the beginning bound up with novelistic discourse (one of her first monographs is Le Texte du Roman, 1 a full-length study of the emergence of the French Roman and its impact on the development of the novel), Kristeva's work is not generally associated with the novel as a specific genre, mainly because Kristeva's field of study, as Leon Roudiez argues, is literary language in general, or ' poetic language, ' as she refers to it in her early analyses.2 Nevertheless, her work of the 1960s shows a particular interest in the novel, specifically in what she calls the ' modern polyphonic novel, ' using the generic term coined by Mikhail Bakhtin to analyze the novels of Dostoevsky. Kristeva is best known for her semiotic and psychoanalytic theories, which have been widely used by critics working in linguistics and semiotics, psychoanalytic literary criticism and cultural studies, including feminist theory.

Nothing like the sun novel