Polyphoy is one of those terms that Bakhtin attempts to apply but never truely defines. Some people take polyphony to be a multude of voices in a work. Bakhtin tends to label than more or dialogue. Polyphony tends to be more of a repositioning of the author, where the author's discourse is heard, but it is not the dominant discourse. I have argued in the past that Woody Allen's _Crimes and Misdemeanors_ is polyphonic because Woody's views are in the film, but clearly other discourses are competing for dominance and one discourse does not come out as a winner (also Allen borrows the structure of the film from Dostoevsky's _Crime and Punishment_ which Bakhtin refers to as polyphonic). So the question really comes down to the positioning of the author. A couple of books you may want to check out: Bakhtin, Mikhail. _Problems of Dostoevsky's Poetics._ Ed. and trans. Caryl Emerson. Minneapolis: University of Minnesota Press, 1984.--Here is where Bakhtin lays out the theory of polyphony and it runs throughout the book (the index is real helpful). Morson, Gary Saul and Caryl Emerson. _Mikhail Bakhtin._ Stanford: University of Stanford Press, 1990. The best explanation of Bakhtin's theories I have found. I have some troubles with Stam's book. I feel it is a little much or a formalist reading (and application) of Bakhtin's theory. However, it is a wonderful starting place and the bibliography leads to a number of good sources. Jeff ======================================================================= < And I would of gotten away > Jeff Shires < with it, if it weren't for > C421693@MIZZOU1 < those pesky kids and their > [log in to unmask] < dog. > Office (314) 882-6341 < > University of Missouri-Columbia