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Journal articles on the topic 'The Dialogical Word'
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Toska, Bledar. "Dialogizing Communication through Pragmatic Markers." ELOPE: English Language Overseas Perspectives and Enquiries 5, no. 1-2 (June 16, 2008): 89–98. http://dx.doi.org/10.4312/elope.5.1-2.89-98.
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The paper discusses the meta-communicative features of pragmatic markers. Communication is approached from the Bakhtinian concept of dialogism, which is seen as a two-way process between interlocutors in speech. In this view, the word is seen as a dialogical item that exists and gains meaning only in the context in which it is used. Pragmatic markers are dialogically fecund in their use. They play an important role in the communicative process thanks not only to their dialogical value but also to their meta-status. They are meta-communicative, meta-linguistic and meta-pragmatic linking words that express our divergent viewpoints and positions in communication.
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Yaguri, Tami, and Edward F. Mooney. "Extending the Dialogical Array." Religions 12, no. 9 (August 25, 2021): 677. http://dx.doi.org/10.3390/rel12090677.
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The I-You dialogue of mutually reciprocal engagement makes a difference of heaven and hell. In the first out of four suggested types of I-You dialogue discussed in this article, all the I’s—of the primary word I-You—own a dialogical perspective. In the other three, it is the I who has an experience of creating and engaging in a dialogue that shortly achieves some kind of mutuality with You. Epistemologically, the four suggested types differ by the qualities of the I who engages in dialogue. The second stance is an I-You dialogue of sympathy. A third possibility is an I-You dialogue of empathy. A fourth possibility aims higher to a dialogue that transcends human mutuality by compassion and reaches a heavenly dialogue.
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Macagno, Fabrizio. "The Presumptions of Meaning. Hamblin and Equivocation." Informal Logic 31, no. 4 (November 29, 2011): 367. http://dx.doi.org/10.22329/il.v31i4.3326.
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When we use a word, we face a crucial epistemic gap: we ground our move on the fact that our interlocutor knows the meaning of the word we used, and therefore he can interpret our dialogical intention. However, how is it possible to know the other’s mind? Hamblin explained this dialogical problem advancing the idea of dialectical meaning: on his view, the use of a word is based on a set of presumptions. Building on this approach, the use of a word in a dialogue can be analyzed in terms of presumptive reasoning, while the manipulative strategies based on slanted or loaded terms or redefinitions can be conceived as forms of conflicts of presumptions. A presumptive approach to meaning can also ground different dialectical strategies to solve misunderstanding or definitional disagreements, or tactics to undermine the interlocutor’s arguments by advancing charges of equivocation.
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Helin, Jenny. "Dialogical writing: Co-inquiring between the written and the spoken word." Culture and Organization 25, no. 1 (June 21, 2016): 1–15. http://dx.doi.org/10.1080/14759551.2016.1197923.
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Kunszt, György. "The Word as Ultimate Reality: The Christian dialogical personalism of Ferdinand Ebner." Ultimate Reality and Meaning 20, no. 2-3 (June 1997): 93–98. http://dx.doi.org/10.3138/uram.20.2-3.93.
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Beller, Mara. "The Word with a Loophole and the Word with a Sideward Glance: Dialogical Approach in Science and Literature." Partial Answers: Journal of Literature and the History of Ideas 1, no. 2 (2003): 27–43. http://dx.doi.org/10.1353/pan.0.0029.
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Garrett, Graeme. "Scripture, Inspiration and the Word of God." Pacifica: Australasian Theological Studies 6, no. 1 (February 1993): 81–99. http://dx.doi.org/10.1177/1030570x9300600105.
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This article seeks to restate the idea of the inspiration of scripture in the context of contemporary debates about authority. It is argued that an adequate theory of scripture must be constructed as part of a comprehensive theology of the “word of God”, on the one hand, and a dynamic theology of the Spirit, on the other. In short, the doctrine of the inspiration of scripture cannot be stated in isolation, as if the Bible could be treated as an isolated object, whole and complete in itself. Only as the word of God empowered by the Spirit of God is comprehended in all its dimensions, and as the reception and interpretation of each dimension is apprehended in dialogical relation to the others, can we grasp what is the unique and irreplaceable part that biblical literature plays in the economy of God's self-declaration in human history.
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Makkonen-Craig, Henna. "The forbidden first word: Discourse functions and rhetorical patterns of and-prefacing in student essays." Text & Talk 37, no. 6 (September 13, 2017): 713–34. http://dx.doi.org/10.1515/text-2017-0024.
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Abstract This article investigates and-prefacing and its environments in student essays. Specifically, the focus is on those instances when a writer uses the Finnish ja ‘and’ as an opening element (“preface”) to the sentence. While and-prefacing is most commonly a single-usage feature employed by a small minority of writers in the essay genre analyzed here, the detailed functional-rhetorical analysis reveals a rich picture of these usages and the respective discourse norm that emerges and evolves in practice. This paper identifies eight micro-level discourse functions for and-prefacing in the essays: (i) rhetorical, accumulative listing; (ii) emphasizing continuity of argument; (iii) dialogical aligning; (iv) unconventional intertextual linking; (v) evaluating a narrative turn; (vi) resolution; (vii) fantasy as coda; and (viii) plain cohesive linking. Significantly, and-prefacing is not limited to the failed essays, nor to the low-graded essays more generally. The differences found in high- and low-graded (failed) essays may, however, suggest that some discourse functions and rhetorical patterns are associated with a higher institutional value than others. Methodologically, this study highlights the benefits of Rich Feature Analysis and dialogically oriented linguistic discourse analysis for exploring a relatively infrequent and yet distinctive rhetorical resource that has a complex form-function relationship in student essays.
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Chapel, Joseph. "The Word in the Sacrament of Confession." Teologia i Moralność 10, no. 2(18) (December 5, 2015): 100–116. http://dx.doi.org/10.14746/tim.2015.18.2.7.
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The work of the Austrian dialogical thinker, Ferdinand Ebner, had both a direct and an indirect influence on the development of the Sacrament of Penance after Vatican Council II. Ebner's notion that humans are given the "word" by God, who is the "Eternal Thou," informed Vatican II's deepening theology of the word. Sin is understood as a rejection of dialogue, a closing of oneself to the Thou, for which authentic sacramental Confession offers the remedy, in and through the miracle of God's gift of speaking to humans. Ebner's influence on Vatican II is direct, especially in the elaboration of the "Dogmatic Constitution on Divine Revelation," Dei Verbum, while his influence on the New Rite of Penance is indirect - reflected in a deeper theology of the word that had already been "absorbed" by the Council. There are implications for further study of Ebner's thought as a prism through which to apply other language philosophies to better understand the Sacrament of Confession.
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Medvedeva, Evgeniya E. "L. Wittgenstein’s dialogical method as a way to develop critical thinking." Tambov University Review. Series: Humanities, no. 188 (2020): 15–25. http://dx.doi.org/10.20310/1810-0201-2020-25-188-15-25.
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The research is devoted to the analysis of the positive possibilities of L. Wittgenstein’s dialogical method for the development of critical thinking. We define the role and functions of dialogue in L. Wittgenstein’s philosophy, reveal the critical orientation and didactic potential of his dialogical “grammar”. L. Wittgenstein’s discourse is compared with the philosophizing of Socrates, the similarities and differences in the approaches of both thinkers are revealed. Wittgenstein’s attitude to analyze philosophical problems by comparing different models of language games is used in research as an effective methodological principle. It is explained that the regulatory aspect of L. Wittgenstein’s philosophical grammar makes it possible to clarify the mechanism of the origin and functioning of human thinking. It is shown that L. Wittgenstein was able to develop a special model of understanding based on dialogue, interpersonal agreement regarding the meaning of the words and expressions used. It is revealed that participation in philosophical dialogue, according to L. Wittgenstein, presupposes the ability and readiness of individuals to critically assess their beliefs and be guided in behavior by reasonable arguments. It is emphasized that L. Wittgenstein’s style of thinking is aimed at developing not only critical, but also creative think-ing. The scientific novelty of the research lies in substantiating the pedagogical significance of L. Wittgenstein’s dialogical method, aimed at educating a critically thinking person. As a result, it is concluded that dialogue provides communicative consent due to the correct use of words in speech. L. Wittgenstein’s method excludes the possibility of achieving an unambiguous, universal definition of the meaning of a word, assumes a description of various cases of its use in the context of language games. Through dialogue, L. Wittgenstein in his later works instills in the reader the ability to constructively interact with another point of view, forms a willingness to discover and create new things, teaches how to overcome the dogmatic view of the world.
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Hinze, Bradford E. "The Word Made Love: The Dialogical Theology of Joseph Ratzinger, written by Christopher S. Collins." Ecclesiology 12, no. 3 (October 13, 2016): 363–65. http://dx.doi.org/10.1163/17455316-01203008.
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Clark, Jonathan P. "THE WORDS OF THE LETTER, THE LETTER OF THE WORD Monological and Dialogical Discourse in Gryphius' Cardenio und Celinde." Daphnis 17, no. 2 (March 30, 1988): 223–45. http://dx.doi.org/10.1163/18796583-90000432.
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Ponzio, Luciano. "Image and word as forms of iconic depiction." Semiotica 2020, no. 235 (November 26, 2020): 75–90. http://dx.doi.org/10.1515/sem-2018-0112.
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AbstractThis paper focuses on the relation between icon and depiction and their equally central role both in verbal and in nonverbal artistic texts. For this purpose, I will examine the contact points between Jakobson and Bakhtin’s theory of text. In particular, I will dwell on Jakobson’s “Quest for the essence of language” and on Bakhtin’s “The Problem of the Text in Linguistics, Philology, and the Human Sciences.” Both Jakobson and Bakhtin build their idea of text on this dialogue between different dimensions. According to Bakhtin dialogical logic is the specific logic of the text. Though indispensable in the initial phase of understanding, the first is reductive if it claims to exhaust the semantic import of the text. Both in Bakhtin and in Jakobson, this idea of text based upon a dialogue between different dimensions implies that sign expression cannot be exhausted in representation because there is something which exceeds representation. I will call this excedent element “depiction.” Depiction is what is at stake in the artistic text, what exceeds the symbolic level of representation. “Depiction” can be configured, both in verbal and non-verbal text, as an idea of iconicity which exceeds resemblance and immediate visibility.
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Wells, Harold. "A listening theologian: Ecumenical and Jewish-Christian dialogue in the early theology of Gregory Baum." Studies in Religion/Sciences Religieuses 32, no. 4 (December 2003): 449–60. http://dx.doi.org/10.1177/000842980303200404.
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This article explores the early theology of Gregory Baum concerning Christian ecumenical and Jewish-Christian relations, noting its essential continuity with his later critical political theology. Dialogue is, for Baum, central to our humanity and truly "revelatory" as a medium of the divine Word. Baum's openness to Protestants and to secular, social-scientific thought and his personal struggle in Jewish-Christian dialogue, led him to a "post-Auschwitz" christology, whereby he rejects "fulfilled messianism" while holding nevertheless an "orthodox" doctrine of the incarnation. We find in the shifting, yet dynamic and consistent, thought of Baum the work of a listening, dialogical theologian.
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Cocco, Ricardo, and Flávia Eloisa Caimi. "Um movimento pedagógico e o pedagógico em movimento: as vertentes Freireanas da comunicação e da radiodifusão comunitária." Praxis Educativa 16 (2021): 1–23. http://dx.doi.org/10.5212/praxeduc.v.16.16319.007.
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The focus of this study is about alternative popular communication movements, specifically those called Community Broadcasting. Taking the bibliographic research as a methodological strategy, the objective was to analyze the contributions of Paulo Freire’s educational thinking to the formulation of a potentially more horizontal and participatory communication proposal in Brazil and Latin America. Based on the work of Paulo Freire and authors in the field of communication, the following are the main Freirean contributions: the idea that communicating, informing and educating are inseparable elements in social communication; the complaint about banking practices in education and communication; facing the monopoly of the word and encouraging everyone to make their voice heard; the premise that the intelligibility of the world is constituted in the human-world interaction ; and, finally, the dialogical character of human communication as the driving force of a more democratic media proposal.
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Cocco, Ricardo, and Flávia Eloisa Caimi. "Um movimento pedagógico e o pedagógico em movimento: as vertentes Freireanas da comunicação e da radiodifusão comunitária." Praxis Educativa 16 (2021): 1–23. http://dx.doi.org/10.5212/praxeduc.v.16.16319.007.
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The focus of this study is about alternative popular communication movements, specifically those called Community Broadcasting. Taking the bibliographic research as a methodological strategy, the objective was to analyze the contributions of Paulo Freire’s educational thinking to the formulation of a potentially more horizontal and participatory communication proposal in Brazil and Latin America. Based on the work of Paulo Freire and authors in the field of communication, the following are the main Freirean contributions: the idea that communicating, informing and educating are inseparable elements in social communication; the complaint about banking practices in education and communication; facing the monopoly of the word and encouraging everyone to make their voice heard; the premise that the intelligibility of the world is constituted in the human-world interaction ; and, finally, the dialogical character of human communication as the driving force of a more democratic media proposal.
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Tcherepashenets, Nataly. "Shaping the Word: Repression, Archive, and Dialogical Discourse in Jorge Luis Borges’s “La muralla y los libros”." Romanic Review 98, no. 2-3 (May 1, 2007): 265–73. http://dx.doi.org/10.1215/26885220-98.2-3.265.
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Kornienko, Alina. "Le Sous-Psychodrame : une nouvelle forme dramatique de Jean-Luc Lagarce." Studia Universitatis Babeş-Bolyai Dramatica 66, no. 1 (April 25, 2021): 199–215. http://dx.doi.org/10.24193/subbdrama.2021.1.11.
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"The Sub-Psychodrama: a New Dramatic Form by Jean-Luc Lagarce. It is exactly by a neologism of a “sub-psychodrama” that the playwright and French director Jean-Luc Lagarce (1957-1995) defined one of his plays. The similarities between psychodramatic practices and Lagarce’s dramatic works are obvious. As in the context of psychodramatic practice, Lagarce’s characters take on roles and identify with them from a carnal as well as linguistic point of view. The situation in which Lagarce’s characters meet is very close to that which is, among others, treated by psychodramatists: the dialogue is not initialized, the individuals are stuck in their reproaches and focus only on their own points of view. Lagarce’s characters use the theatricalization, the putting in voice of a dramatic text of one of them in order to launch the speech that awaited this moment of expression. The sub-psychodrama, while being a poetic and dramatic concept of Lagarce, reveals the dialogical malaise in the contemporary society that the sub-psychodrama quotes while highlighting the complex mechanisms of the intersubjective perception as well as the mechanisms of our individual and collective memory. Both reflective self-perception, which goes from oneself to oneself, and transitive perception, which goes from oneself to the other or from the other to oneself – in the context of a speech act. The sub-psychodrama presents itself, therefore, as a dialogical and perceptive field of battle where the spoken word is in search of its answer. The sub-psychodrama invented and developed by Lagarce puts the concept of paper beings – linguistic puppets – at the same level, while promoting the coalition of puppet theater and word drama. Keywords: Lagarce, contemporary French drama, word drama, psychodrama, sub-psychodrama. "
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Lebedova, Rumyana. "WORD AND IMAGE." Knowledge International Journal 34, no. 6 (October 4, 2019): 1683–87. http://dx.doi.org/10.35120/kij34061683l.
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The text is an attempt to present possible dialogical connections between works of literature and visual arts as an expression of the building up aspiration of the creative spirit to give rise to ideas ,by constructing the universe in fictional worlds. Such dialogue is far from utilitarian and bears the traces of artistic freedom; it is a kind of a play and provocation because it handles artifacts in which spiritual experience has crystallized, knowledge is preserved, and the coordinate system of values characterizing periods or communities is outlined. Although recreated through a different type of expression, a different articulation of meaning - verbal or non-verbal, they are manifestations of a worldview and moral convictions and fulfillment of aesthetic views - the author shows subjectivism regarding the choice of life material, regarding the scheme of its organization, the way its interpretation and the degree of distance from reality. In this sense, the analytical observations on works of literature and fine arts can be based on similar tendencies, related to the prerequisites for their emergence, the influence of sociocultural factors, and the distinction of imaginative, ideological, thematic and stylistic parallels.The characteristics are even more clarified in the contact zone of the two arts.Attention is drawn to icon and illustration, which are to some extent interconnected because, despite their iconographic, stylistic and printing differences, they can be defined as a plastic narrative. They are similar due to the presence of stylization and decorativeness in the image. Their aesthetic nature and social function are a kind of projection of the ideological and artistic tendencies in the spiritual pursuits of the community and the understanding of the role of the creative personality in the cultural and social life.Their juxtaposition with literary texts is conditioned by the possible thematic, ideological, figuratively-emotional and stylistic parallels, which are the basis of the functionality of similar psychological preconditions that determine their creation, as well as of similar aesthetic categories and social tasks to which the authors are subject. In such a view, the unique in both arts is more clearly distinguished, but at the same time, through the different languages, the “spirit of time” in its sociocultural condition is more fully reconstructed.The dialogue between works of literature and fine arts outlines a cultural field in which parallel worlds intersect. The various aspects of the relationship between them are examined - conflicting or complementary, with an emphasis on the idea of their mutual transformation or their clear separation. It is a communication in which meaning penetrates and dissolves into other cultural fields, overcomes limitations and generates additional nuances when it comes to ideas and emotions.The dynamics of their encounter, overlay, transformation or complementarity contribute to create a panoramic picture of the spiritual life over a period of time, to trace cultural interactions and to clarify the specifics of a work of art as an artifact.
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Johnson, R. Burke. "Dialectical Pluralism." Journal of Mixed Methods Research 11, no. 2 (July 8, 2016): 156–73. http://dx.doi.org/10.1177/1558689815607692.
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There has been much debate about the role of paradigms in mixed methods research. In the face of past calls for each researcher to operate within a single paradigm, it turns out that some researchers/practitioners find many positive features in more than one paradigm. This “multiparadigmatic perspective” used in mixed methods research needs a systematic framework for the practice of engaging in difference. Also, individuals committed to a single paradigm need a philosophical/theoretical framework for working in multiparadigmatic teams. This article provides such a framework. It is a metaparadigm, and it is labeled dialectical pluralism 2.0 or more simply dialectical pluralism. The word “pluralism” refers to the acceptance and expectancy of difference in virtually every realm of inquiry, including reality, and the age-old word “dialectical” refers to the operative process which is both dialectical and dialogical. Dialectical pluralism provides a way for researchers, practitioners, clients, policy makers, and other stakeholders to work together and produce new workable “wholes” while, concurrently, thriving on differences and intellectual tensions.
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Leushuis, Reinier. "The Mimetic Paraphrase." Church History and Religious Culture 96, no. 4 (2016): 541–64. http://dx.doi.org/10.1163/18712428-09604004.
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The mimetic aspects of speech, the spoken word, and dialogical exchange that distinguish the miracle narratives of the first half of Erasmus’s Paraphrase on John constitute a unique implementation of Erasmus’s reader-oriented Philosophia Christi. They efficiently apply the poetics of speech that characterize the theology of Christ’s inverbation in John 1:1 to the genre of the paraphrase for the sake of imitatio. The Erasmian paraphrase reveals itself as the ideal textual medium to exploit the transformative capacities of the incarnate Word and its poetics of speech and verbal transmission in order to perform the gradual acquisition of faith in the individual reader’s mind and, by extension, in the sphere of thought and action of the imagined listeners in the paraphrase’s homiletic community. Moreover, these examples illustrate the remarkably literary notion of mimesis in Erasmus’s paraphrastic text.
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Möller, Karl. ""HEAR THIS WORD AGAINST YOU": A FRESH LOOK AT THE ARRANGEMENT AND THE RHETORICAL STRATEGY OF THE BOOK OF AMOS." Vetus Testamentum 50, no. 4 (2000): 499–518. http://dx.doi.org/10.1163/156853300506521.
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AbstractThis article suggests a fresh understanding of the arrangement and the rhetorical of the book of Amos. It proposes that its 'dialogical dimension' reflects a deliberate design by the redactors who intended to present 'a prophet in debate'. It is that the book is best understood as an attempt by the redactors to persuade readers to learn from the failure of Amos' original audience to respond appropriately to his message. In particular, the recipients are induced not to repeat the stubborn attitude and self-assured behaviour of Amos' original addressees. Looking especially at Am. iii, the hymn fragments and the Amaziah narrative, this article seeks to that their place and function in the book are best explained by interpreting them within the framework of the presentation of the debate between Amos his eighth-century audience.
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Beaumont, Sheona. "Engaging with the Bible in Visual Culture." Religion and the Arts 23, no. 4 (October 10, 2019): 411–33. http://dx.doi.org/10.1163/15685292-02304004.
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Abstract Increasingly articulate contemporary art practices are engaging with biblical representation, revealing new relationships with religion through the availability of the word in image. Taking as exemplary the photographic publication of Adam Broomberg and Oliver Chanarin’s Holy Bible (2013), this essay considers the evidence for their hermeneutics between image and word that is characterized by open awareness of and expansive participation in the (rereading of the) Bible. Discussing this engagement, I explore imagistic readings of the Bible through the artists’ strategies of interpolation and repetition, as well as examining their chosen theme—catastrophe—for its revelatory power. Through the artists’ self-reflexive hermeneutics of indeterminacy, I argue that the discussion of the return of religion in art needs attuning to this kind of specific practitioner experience: a hermeneutical circle of imaginative, dialogical, and dynamic interpretative positions in which the notion of indeterminacy is persuasive for interpretative grist, historical accountability, and theological horizon.
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Vasilakis, Dimitrios. "From Writing to Philosophizing: A Lesson from Platonic Hermeneutics for the Methodology of the History of Philosophy." Conatus 5, no. 2 (December 31, 2020): 133. http://dx.doi.org/10.12681/cjp.23490.
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In this paper, I try to exploit some lessons drawn from reading Plato in order to comment on the methodological ‘meta-level’ regarding the relation between philosophizing and writing. After all, it is due to the medium of written word that we come to know past philosophers. I do this on the occasion of the ostensible conclusion in Plato’s Meno. This example illuminates the ‘double-dialogue’ hermeneutics of Plato and helps to differentiate Plato’s dialogues from dialogical works written by other philosophers, such as Berkeley. As a result, it becomes clear that, like with Plato’s case, a historian of philosophy must not only have a philosophical training, but also a subtle philological background, when attempting to come into dialogue with dead philosophers.
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Li, Yuanchun, Landysh G. Latfullina, Elvira F. Nagumanova, and Alsu Z. Khabibullina. "The Translator as a Mediator in the Dialogue of Literatures." Journal of History Culture and Art Research 6, no. 5 (November 28, 2017): 357. http://dx.doi.org/10.7596/taksad.v6i5.1254.
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<p>The article raises the issue of translating the works of national literatures through an intermediate language since most of the works of the peoples of Russia find their readers in the world thanks to the Russian language. The urgency of this problem is obvious in modern conditions when the interest in Turkic-speaking literature is growing, and many Russian poets, like in the Soviet era, see themselves as the translators from national languages. On the example of the translation of the poem «tɵshtǝgechǝ bu kɵn – sǝer Һǝm iat …» (“the day is like a dream”) of the contemporary poetess Yulduz Minnullina both the strengths and the weaknesses of the modern translation school are considered. The word for word translation can lead to the unification of differences between literatures when the dominant language (the Russian language) imposes certain aesthetic principles on the original text. The most important aspect of the topic of interest is the consideration of the role of interlinear translation in the establishment of interliterary dialogue. Through interlinear translation a foreign work, endowed with its special world of ideas, images, national and artistic traditions, serves as the basis for dialogical relations that are indispensable for both the Russian-speaking reader who discovers the “other” literature, and the very work that is included in the dialogue in the “large time”. At the same time, the elimination of differences between literatures occurs when the translator, through the Russian language, by means of line-by-line translation, introduces the features of his own consciousness into a foreign work. In this case, the translation simplifies the content of the literature, equalizes the artistic merits, thereby projecting the life of the work onto communication, rather than dialogue.</p>
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Bakri, M., Norhaslinda Kamaruddin, M. Hamiz, P. Marlia, A. H. S. Nurhasmiza, A. B. Shahirah, Z. Othman, et al. "Insights extraction on cross-cultural interaction through astronomy online labs using data analytics." Indonesian Journal of Electrical Engineering and Computer Science 16, no. 1 (October 1, 2019): 508. http://dx.doi.org/10.11591/ijeecs.v16.i1.pp508-515.
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<span lang="EN-GB">Dialogical inquiry on astrology offers the participants to gain not only the intellectual and technological knowledge on the subject matter but also the social benefit of the interaction. Different cultures and values may pose as a challenge for adaptation when the participants start to collaborate in order to complete the group work. Hence, multiple sessions of cross-cultural interaction through Astronomy Online Labs had been conducted to give the participants a standardized platform to discuss and communicate. However, it is imperative to observe the content and frequency of the interaction to ensure both parties (Local and Non-local) benefited from such interaction. The interaction had been recorded and analysed to give us some insights for the improvement of the future participants’ engagement. The visualization techniques such as word cloud, word forest, timeline as well as Venn diagram approaches had been used and it is observed that the participants are actively communicating with the Non-local slightly dominating the session. It is hoped that the analysis tool can be embedded in the platform that it can provide dynamic analysis on the go while interaction happens so the moderator can steer the interaction to the intended topic</span><span>.</span>
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Bosch, Rozelle (Robson). "Carcass and cross: Discovering the sacred in the secular." Theology 121, no. 4 (June 20, 2018): 252–60. http://dx.doi.org/10.1177/0040571x18765425.
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The body is a dialogical, incarnational and sacramental entity. But how may the Christian imagination conceptualize and depict this fact? This contribution uses a provocative piece of art as a modern framing of the constant intersection of the sacred and secular. It starts by looking at Merleau-Ponty’s phenomenology of perception, continues to discuss Luce Irigaray’s notion of the sensible transcendental and then concludes by way of feminist metaphysics. It is argued that these three schools of thinking provide a helpful framework with which to unpack the theological nuances in Pyotr Pavlensky’s Carcass (2013). Towards the end of the contribution it is shown that Carcass is in fact cruciform when read through the doctrine of the incarnation and that one need not look far to see the Word made flesh in the everydayness of life.
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Temko, Christine. "Speaking in the face of disintegration." English Text Construction 7, no. 2 (November 3, 2014): 151–77. http://dx.doi.org/10.1075/etc.7.2.01tem.
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In its analysis of Cormac McCarthy’s novel The Road, the present article aims to establish that, despite the bleakness of the deathscape portrayed, McCarthy nevertheless did not intend for violence to get the final word. Through a discussion of the dialogues of the novel, this article explores to what extent they may indeed be qualified as dialogical. Moreover, examining the instances in which language as communication becomes a problem in light of both the concerns and the mechanisms of playwrights of the absurd Beckett and Pinter, it intends to show that even though the referents of human culture appear to have vanished close to entirely from the face of The Road’s earth, sociability and empathy nonetheless manage to survive. Keywords: Cormac McCarthy; The Road; Absurdism; Samuel Beckett; Harold Pinter
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Manshur, Fadlil Munawwar. "TEORI DIALOGISME BAKHTIN DAN KONSEP-KONSEP METODOLOGISNYA." SASDAYA: Gadjah Mada Journal of Humanities 1, no. 2 (August 28, 2017): 235. http://dx.doi.org/10.22146/sasdayajournal.27785.
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This paper discusses the theory advanced by Bakhtin about dialogism and methodological concepts. This theory to formulate the concept of human existence on the other, which is based on the idea that humans judge him from the viewpoint of others. Humans understand the moments of consciousness and take it into account through the eyes of others. According to this theory, the essence of human life is a dialogue. The Method of heteroglossia talks about signs in the universe of individuals because of the word "heteros" means "other" or different, while "glossia" means the tongue or language. In this method mentioned that people are saying needs to be heard, and the author also has the same rights that words need to be heard. A word is born from dialogue to address the problems of life. On the other hand, Bakhtin sees carnival method has spawned a new literary genre, the polyphonic novel. The polyphonic novel is a novel that is characterized by a plurality of voice or consciousness, and the voices or the overall awareness dialogical. Polyphonic essentially a "new theory of authorial viewpoint". Polyphonic appear in fiction when the position of the author freely allowed to interact with the characters. The characters in the novel are freely polyphonic appear to argue with each other and even with the author.
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Glembotskaya, Yana, and Ilya Kuznetsov. "Text-Mentative in Russian Literature of the XX-XXI Centuries." Ideas and Ideals 13, no. 2-2 (June 15, 2021): 382–94. http://dx.doi.org/10.17212/2075-0862-2021-13.2.2-382-394.
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The subject of the article is the text-mentative and its functioning in the Russian literature of the XX-XXI centuries. The concept of ‘mentative’ (which appeared in linguistics since the beginning of the XXI century by analogy with ‘narrative’) means a text with a mental reference, dialogically responding to the word and thought of the other. In linguistics, there is a typology of communicative strategies of the mentative in relation to the speech of the other. There are 8 strategies, they are equal logically, but unequal in dialogical and, consequently, heuristic relations. In Russian fiction, the text-mentative was established in the middle of the XIX century. That was due to the beginning of the stage of convergence of the artistic and non-artistic word in Russian literary evolution. The novel “War and Peace” by L. Tolstoy, containing multiple mentative fragments and entire chapters, became a clear sign of the mentative appearance in fiction. The stage of convergence of the artistic and non-artistic word continued until the end of the XX century, and all this time the specific weight and importance of the mentative in Russian fiction were steadily increasing. The article shows functioning of the mentative in the ideologically and artistically most important works of Russian literature of the mid – late XX century. These are novels by B. Pasternak “Doctor Zhivago”, A. Bitov “Pushkin’s House”, V. Pelevin “Generation ‘P’”, A. Chudakov “The Mist Falls on the Old Steps”, texts by A. Solzhenitsyn, V. Rasputin, V. Makanin. In all these works, the mentative allows us to formulate the key thoughts for the self-consciousness of the XX century Russian literature: morality, truth, the meaning of life and the danger of consumerism. In the XXI century, in the works by M. Kucherskaya, E. Chizhova, E. Vodolazkin, the mentative also occupies a large place, appearing in ideologically important fragments of works. As a result of the above, it is concluded that the role of the mentative in Russian literature of the XX century was steadily increasing. The authors of the article suppose that we witness starting of the stage of mental thematization of writing in the Russian literary evolution in the XXI century.
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Быкова, Лилия. "Пресловутое „как бы” — слово-паразит или полноценное дискурсив- ное слово?" Studia Rossica Posnaniensia, no. 43 (November 26, 2018): 27–36. http://dx.doi.org/10.14746/strp.2018.43.2.
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The article synthesizes, organizes and in many ways reveals and defines the conventionally invariant and derivative values (senses) of the hyperfrequency particle 'AS IF (КАК БЫ)' using as its material various discourses in the modern Russian language. Anthropological and phenomenological study revealing the pragmatic strategy of the speaker's approach to the texts, substantiated the hypothesis of the permanent dialogical, situational significance of this specific discourse phrase, even in cases when it reveals the physiological aspects of speaking. On the surface, the explanation of the reasons for the high frequency use of 'as if' is based on socio-political factors. At the same time, the ”byte of uncertainty” of our time correlates with the categories of contemporary postmodernist consciousness with its freedom from the unambiguous connection of the word with the denoter and, as a consequence, with the loss of uniqueness and certainty.
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Kang, Dongjing, and Chigozirim Utah Sodeke. "How Dialogical Are We Really? Insights Gleaned from Un-Dialogical Moments." Departures in Critical Qualitative Research 6, no. 4 (2017): 47–69. http://dx.doi.org/10.1525/dcqr.2017.6.4.47.
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This essay emphasizes the writing of dialogical research as a crucial step in the dialogical research process. Dialogical research accounts should not suppress the ongoing struggles that accompany a genuine desire to engage dialogically in research contexts. Thus, we advocate and model evocative retellings of these struggles. Questioning our own fieldwork based on the work of Martin Buber and Mikhail Bakhtin, we highlight principles of dialogue that also serve as guidelines for dialogical research reporting: unfinalizability, engaging paradoxes, and creative (critical) transformation.
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Yuzmukhametova, L. N., V. R. Amineva, and R. R. Nurmieva. "Genre and Stylistic Search of Vanguard Lyrics." Journal of Educational and Social Research 9, no. 3 (September 1, 2019): 139–44. http://dx.doi.org/10.2478/jesr-2019-0031.
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Abstract In works of the Tatar poet R. Gatash the leading trends of national historical-literary process of the 1960-1980th were shown. The poet uses within one work mythopoetic language, tracks and an esthetics of “simple” [not stylistic] word which enter among themselves the dialogical relations. In this regard there is a need to consider various options of mutual illumination of different stage languages and the related ways of art completeness on the example of concrete works. The topicality of the conducted research is defined by need of theoretical judgment of the art and esthetic nature of nonclassical type of an art ensemble in relation to the Tatar literature of the 2nd half of the 20th century. In the solution of objectives using of a system and structural method is supposed. The works of domestic and foreign scientists devoted to problems of postmodernism and nonclassical type of an art ensemble had an impact on the concept of the conducted research. On the basis of the carried-out analysis different options of mutual illumination of different stage languages are allocated: mythological, conditional and poetic and “simple” word. It is established that the mythopoetic language and language of ladders which are going back to national poetry are exposed to internal transformations, becoming more difficult, individual and unpredictable. The conclusion is drawn on compliance to different figurative languages of various genre and semantic orientations and on formation in the poet’s works of a subject situation characteristic of nonclassical poetics.
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Filek, Jacek. "Philosophie als Abwandlung des Seins." Phänomenologische Forschungen 2006, no. 1 (2006): 65–84. http://dx.doi.org/10.28937/1000107926.
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The history of philosophy is a history of the basic paradigms of philosophical thinking. These paradigms are marked out by the changing ways of experiencing being. Philosophy „declines“ being. Expressing this more grammatico, philosophy conjugates the infinitive „to be“. The first word of the first First Philosophy is „is“ - this is the „antiquity“ of philosophizing, the objective paradigm, the philosophy of objectivity, for which reason is the dominant human faculty and truth is the primary notion. The time of this paradigm is the past. The first word of the second First Philosophy is „I am“ - this is the „modernity“ of philosophizing, the subjective paradigm, the monological philosophy of subjectivity, for which the will is the dominant human faculty and freedom is the primary notion. The time of this paradigm is the future. The first word of the third First Philosophy is „you are“ - this is „the now“ of philosophizing, the dialogical paradigm, the philosophy of „the other“, for which feeling is the dominant faculty and responsibility is the primary notion. The basic notion of this new paradigm of thinking is responsibility, and its time is the present. These paradigms, however, are not in conflict with one another; rather, in showing the various aspects of being they help us to experience its fullness. The full experience of being can therefore be summarized in a triad of notions: truth - freedom - responsibility. However, what responsibility consists of remains to be determined.
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White, Lauren Smelser. "The Sacrament of Revelation: Toward a Hermeneutics of Nuptial Encounter." Religions 10, no. 9 (August 22, 2019): 495. http://dx.doi.org/10.3390/rel10090495.
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This article addresses the notion of sacramentality in relation to revelation, framing revelation as a divine-human discursive encounter facilitated through semantic media. In doing so, it suggests disciplines for theological reflection that would preserve the import of human submission to the Holy Spirit’s guidance in interpreting God’s Word while also envisioning a positive place for subjective construction along that Spirit-led way. The article locates the basic tenets of such a methodological paradigm in the works of Sarah Coakley, Louis-Marie Chauvet, and Rowan Williams. Coakley’s work provides the groundwork for a vision of ecstatic encounter with God as integral to the Spirit-led process of revelation. Next, engagement with Chauvet establishes how mediated revelation may be conceived as a sacramental and dialogical reality, which fundamentally evokes and includes human self-expression. The article closes by drawing upon Williams’ theological reflection on sexuality as a resource for embracing subjective construction, as integral to our Spirit-guided, “nuptial” incorporation into the life of Christ. The results afforded by this analysis warrant spiritual-hermeneutic commitments from communities who desire to cooperate with the Holy Spirit in acts of theological interpretation.
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Kulyapin, Alexander. "Was there Nevsky? Ideology and Poetics of V. M. Shukshin’s Story “Conversations under a Clear Moon”." Philology & Human, no. 2 (July 21, 2021): 115–25. http://dx.doi.org/10.14258/filichel(2021)2-10.
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The article deals with the problematic issues and poetics of Shukshin’s story “Conversations under a Clear Moon”. Despite the fact that the title of the story contains the word “conversations”, there is no truly dialogical relations between the characters. The characters of the story, in fact, speak different languages. They need an interpreter, since they themselves do not understand interlocutor's speech well. The emergence of a language barrier between compatriots is natural. This is a consequence of the story’s character loss of identity: national, social and even gender. The writer focuses on the features of “non-Russianness” in the appearance, speeches, mentality of the main character - old man Baev. The process of losing national identity goes so far for Baev that he even puts forward an absurd hypothesis about his American origin. The interlocutor of Baev, Marya Selezneva, generally loses not only social, but also gender identity. The artistic world of the story “Conversations under a Clear Moon” is largely simulative. It is so illusory that the characters in the story cannot distinguish day from night, the moon from the sun. The line between (pseudo)life and death is practically erased in the story.
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Florencia Capurro, María. "El discurso herético en Prosas Profanas: ¿secularización o profanación?" (an)ecdótica 5, no. 1 (January 29, 2021): 149–63. http://dx.doi.org/10.19130/iifl.anec.2021.5.1.19788.
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Prosas Profanas y otros poemas by Rubén Darío is built from its initial paratext in a polyphonic way. The title of this collection of poems is based on a negation: the word “profane” is etymologically defined as the negation of religion, which can be understood both in secular and heretical terms. Since all negations imply the incorporation of another’s discourse to be denied, it is possible to affirm that this title encloses the incorporation of a counter-discourse of Christianity. “Ite, missa est” and “El reino interior” are two poems that show how specific genres of the Catholic religion (the mass and the narrative iconography) are subverted to create their own denial. The dialogical relationship between religious discourse and their heretical counter-discourses occurs in Prosas Profanas upon the creation of effects of généricité, since Rubén Darío plays with the limits of highly codified discursive genres. The aim of the following work is to describe how discursive heterogeneity operates as a matrix behind the construction of Prosas Profanas, that is, how it relies on religious discourse in terms of opposition in order to build new meanings of a heretical nature.
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Lecuit, Jean-Baptiste. "POR UMA ABORDAGEM DIALOGAL DA INABITAÇÃO TRINITÁRIA." Perspectiva Teológica 45, no. 127 (September 17, 2014): 373. http://dx.doi.org/10.20911/21768757v45n127p373/2013.
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No último século, vários teólogos propuseram uma abordagem da inabitação trinitária que deu mais espaço a seu caráter pessoal e relacional do que os teólogos precedentes. Respondendo a este apelo, este artigo apresenta uma abordagem dialogal deste mistério, apoiando-se na teologia da autocomunicação de Deus e na filosofia do ato de palavra. As condições de possibilidade de uma experiência da inabitação trinitária acessível ao cristão ordinário recebem desse tipo de abordagem uma nova iluminação.ABSTRACT: In the last century, several theologians proposed an approach of the Trinitarian indwelling that gave more space to its personal and relational character than the previous theologians. Responding to this appeal, this article presents a dialogical approach to this mystery, relying on the theology of the self-revelation of God and the philosophy of the act of word. The conditions of possibility of an experience of the Trinitarian indwelling accessible to the ordinary Christian receive from this kind of approach a new enlightenment.
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Kiseleva, Irina A. "“The Prophet” by A. S. Pushkin (1826) and “The Prophet” by M. Yu. Lermontov (1841): a Comparative Semantics of the motifs." Проблемы исторической поэтики 27, no. 1 (February 2020): 111–29. http://dx.doi.org/10.15393/j9.art.2020.6762.
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<p>The article reconstructs the creative history of the same name poems by A. S. Pushkin and M. Yu. Lermontov. M. Yu. Lermontov’s poem “Prophet” (1841) is considered as dialogical in relation to Pushkin’s “Prophet” (1826). By comparing draft and final versions of the poems, the semantic spectrum of the prophetic motif, common both o Pushkin and to Lermontov, is determined. The study of the creative work is used as an approch for understanding it. A special attention is paid to an eschatological motif openly stated in the draft of “The Prophet” by Pushkin, going into subtext in the clean copy, but remaining paramount in the aspect of the work’s etiology and its rapprochement with Lermontov’s poem “The Prophet”. The features of Pushkin’s and Lermontov’s poetics are revealed. Pushkin emphasizes a single action associated with the idea of transforming a person into a prophet and developing in a single spatial point equal to the universe. Lermontov’s text is multi-event, that is bearing the prophetic word to people, the rejection by a vicious community, going to the desert, a harmonious stay in nature. It is noted that with a visible difference in the poetics of texts, the common stable and isomorphic to the prophetic motif remain the eschatological motif, the motif of transformation, the motif of carrying the word of God, the motif of paradisal being.</p>
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Kadhim, Munder Mulla, and Hisham Ali Hisham. "Principles and Techniques for Competence Formation in Russian Dialogical Speech among Iraqi University of Baghdad Students." Polylinguality and Transcultural Practices 17, no. 4 (December 15, 2020): 542–52. http://dx.doi.org/10.22363/2618-897x-2020-17-4-542-552.
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The article has an attempt to name the principles and techniques for competence formation in Russian dialogical speech among Iraqi University of Baghdad students. The notion of competence in dialogic speech is defined as the ability to successfully implement spoken foreign language activities in a dialogic form in accordance with the situation of communication. It is established that the competence in dialogical speech is based on the acquired knowledge (declarative and procedural), skills (phonetic, lexical and grammatical) and skills (speech, training, intellectual and compensatory). It is reported that the implementation of every of the above components of competence in the dialogical speech for Iraqi University of Baghdad students occurs through the implementation of certain principles (activity principle, visibility principle, situationality principle, the principle of advanced professional orientation of educational material, novelty principle, functionality principle), and methods or technologies (work in pairs, work in triples, work in small groups, carousel, aquarium), which will enable to achieve high results in training Russian as a foreign language for the Iraqi University of Baghdad students.
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Khadynskaya, Aleksandra A. "“Above Me is the Heavens Diversity”： Intertext in the Lyrics by Ivan Elagin." Humanitarian Vector 16, no. 1 (February 2021): 65–73. http://dx.doi.org/10.21209/1996-7853-2021-16-1-65-73.
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The relevance of the study is dictated by the need to identify intertextual connections in the lyrics by I. Elagin as evidence of the dialogic nature of his poems, their close connection with the Russian and world literary tradition. The article reveals the problem of detecting intertextual sources in the poetry of the second wave of emigration due to its poor study at the level of poetics, a partial solution of which is proposed in this publication. The novelty of the research lies in the detection of allusions and quotations that have not previously attracted the attention of researchers studying the work by I. Elagin. The aim of the study is to determine the allusive background of the Elagin's lyrics, which is necessary for the poet to organize a cultural dialogue with the metropolis of the literature. Based on the goal, the research methods were determined: the analysis of intertextual relations based on a comparative and historical-literary approach. In the course of the study, conclusions were drawn about the presence of a number of new, previously unnoticed allusive sources of Elagin's lyrics, consonant with his outlook of the emigrant poet, and also revealed the dialogical nature of his work, which is distinguished by the tragic outlook of a man of the new “neon age” - a time that does not accept poetry. In addition, it was determined that his intertextual dialogue with classics and contemporaries reveals the polemic and ambiguousness of his attitude to the new industrial age and, at the same time, faith in the unlimited possibilities of the poetic word, due to the fact that for Elagin, as a poet who formed abroad, it was important to define his own poetic genealogy and his place among Russian poets. As a research perspective, it should be noted the possibility of further consideration of the complex of intertextual connections of the poet, demonstrating his desire to be included in the circle of the “big” literature of the metropolis, to declare the uninterrupted tradition of Russian poetry, but at the same time showing a new look at them from the position of a “non-Soviet” person aesthetic space. Keywords; Ivan Elagin, poetry of the second wave of Russian emigration, intertextual connections, poetry of Russian emigration, literary allusion, traditions of Russian literature
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Bertrando, Paolo, and Claudia Lini. "Towards a systemic-dialogical model of therapy." Human Systems: Therapy, Culture and Attachments 1, no. 1 (February 2021): 15–28. http://dx.doi.org/10.1177/26344041211003853.
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Bakhtin-inspired ideas that led to the emergence of dialogic therapies are usually considered as incompatible with other, more traditional models. This article presents a possible integration of dialogical ideas, with their acceptance of uncertainty and disorder, within a systemic understanding, where the emergence of systemic patterns is recognised. Through a comparison with the open dialogue approach, the article aims at clarifying the difference between a pure dialogical and a systemic-dialogical perspective, that is seen as more fitting with the contextual complexity of the world of today. The model of practice is illustrated by a case supervision example.
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Ainurrafiq, Faiq. "ANALISA KESALAHAN DALAM PENERJEMAHAN KITAB AL-BALAGAH AL-WADIHAH KARYA ALI AL-JARIM DAN MUSTAFA AMIN." Cendekia: Jurnal Kependidikan dan Kemasyarakatan 13, no. 1 (June 1, 2015): 35. http://dx.doi.org/10.21154/cendekia.v13i1.236.
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Abstract: The overflow of foreign language books and high demands of market with the need of new products, including the translation, makes the quality of translation work has decreased. In this void, a critic on translation is necessary in order to create an atmosphere of critical and dialogical associated with the work of translation. This paper analyzed and discussed errors of translation of the book of al-Balagah al-Wadihah work of Ali al-Jarim and Mustafa Amin. In accord to this, the researcher attempted to know the forms of errors in the results of translation of al-Balagah al-Wadihah, and how the correct form of alternative translation should be. The results showed that the error in the target language sentence structure included the sequence position of sentences. Errors in the use of sentence effectiveness dealt with translating unnecessary text and repetition of words that had been mentioned. Errors in translating vocabulary covered improper equivalent elections, not equivalence of word categories, and inaccuracy of idiom translation. Additionally, errors were also found in the aspect of eliminating vocabulary, phrases, and sentences. ةيعون لىإ ةديدلجا ةجمترلما بتكلا تاجاتنا لىإ قاوسلأا تاجاحو ةيبنجلأا ةغللاب ةيرثكلا بتكلا دورو تّ دأ نع يراولحاو يدقنلا ولجا نيوكت فدهب ىجمترلا دقنلا دوجو لىإ اذه عفدو .ةفيعضو ةلمهم ةجمترلا ةدوجو ىفطصمو مرالجا يلعل « ةحضاولا ةغلابلا « باتكلا ةجمرت في ءاطخلأا ليلتح ةلاقلما هذه تلواح .تاجمترلما ةيطايتحلاا ةجمترلا عون ميدقتو ةجمترلا في ةعقاولا ءاطخلأا ىلع روثعلا ثحابلا لواح ،ةساردلا هذه في .ينمأ عقوم بيترت في تناك فدلها ةغللا في لملجا بيكارت ءاطخأ نأ يه ةساردلا هذه جئاتنو .ءاطخلأا هذله ةداعإو هتجمرت لىإ جاتيح لا تيلا صنلا ةجمرت في نوكت ،ةلاّ عفلا لملجا مادختسا في ءاطخلأا امأ .لملجا ةغللا في – ةفدارلما تاملكلا رايتخا في ءاطخلأا لمشت تاملكلا ةجمرت في ءاطخلأاو .اقباس ةروكذلما تاملكلا ،تاملكلا فذح بنالجا في كلذكو ،ةيحلاطصلاا تارابعلا ةجمرت في ءاطخلأاو ،ةبسانلما يرغ – فدلها .لملجاو بيكاترلاو
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Santoro, Filippo. "A Palavra do Senhor. Comentário e destaques à Exortação Apostólica Pós-Sinodal do Papa Bento XVI." Revista Eclesiástica Brasileira 71, no. 283 (February 19, 2019): 606. http://dx.doi.org/10.29386/reb.v71i283.997.
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O A. sintetiza a Exortação Apostólica Pós-Sinodal Verbum Domini, realçando sua estrutura dialógica e chamando a atenção para o que considera os pontos fortes do documento: a continuidade entre a Verbum Domini e a Dei Verbum (do Vat. II) no que concerne à centralidade da Palavra de Deus (Cristo); esta, como sendo o miolo do documento, não a Bíblia, embora esta seja seu receptáculo; uma renovada comunhão entre exegese, teologia e pastoral; Maria, ponto de referência para se compreender a relação entre Palavra de Deus e Igreja; leitura orante e lectio divina como abordagens que favorecem o encontro pessoal e comunitário com a Palavra; a dimensão inerentemente missionária da Palavra de Deus, que se dá, sobretudo, pelo testemunho de vida; o impulso ao diálogo ecumênico e inter-religioso decorrente do encontro com a Palavra; a comunhão e a alegria, resultantes desse encontro; o estilo sapiencial do texto e sua linguagem viva, calorosa e comunicativa, fruto da experiência de encontro com o Verbo encarnado, Palavra de Deus. Neste quadro, a Bíblia é vista como verdadeiro código primordial da humanidade, capaz de falar a uma sociedade plural, desejosa, em tempos de árido relativismo, do Evangelho da Vida.Abstract: The Author summarizes the Post-Synod Verbum Domini Apostolic Exhortation, emphasizing its dialogical structure and calling attention to what he considers to be the strong points of the document: the continuity between the Verbum Domini and the Dei Verbum (of the Vatican II) with regard to the centrality of God’s Word (Christ’s); considering the latter – rather than the Bible that would be just its receptacle – as the kernel of the document; a renewed communion between exegesis, theology and pastoral; Maria as a point of reference in order to understand the relationship between God’s Word and the Church; praying-reading and lectio divina as the types of approaches that encourage the individual and the community encounter with the Word; the inherently missionary dimension of God’s Word, that happens, above all, by the testimony of life; the impulse towards the ecumenical and inter-religious dialogue resulting from the meeting with the Word; the communion and the joy resulting from this meeting; the sapiential style of the text and its lively, warm and communicative language, fruit of the experience of the meetingwith the incarnated Word, God’s Word. In this picture, the Bible is seen as mankind’s true primary code able to speak to a plural and yearning society, at a time of arid relativism of the Gospel of Life.
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Lysemose, Kasper. "In the Middle of Love: At the Fringes of Personhood. An Explorative Essay on the Dialogue of I and Thou and the Poetics of the Impersonal." Religions 12, no. 6 (June 11, 2021): 435. http://dx.doi.org/10.3390/rel12060435.
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In Works of Love, Søren Kierkegaard introduces the idea that God’s love is “the middle term.” It is a love that manages to be in the middle of all created being. To that extent, love is not just one relation among others, but the “being-in-relation” as such. It is, in Heideggerian terms, “the with” of being-with. This implies, further, that the middle is as inconspicuous as it is ubiquitous. According to Martin Buber, however, there is a privileged relation to the middle in the I–Thou relation. It is here that it reveals itself. For Buber, this is so on the strength of two important traits of this dyadic relation: that it is dialogical and personal. It is in dialogue that I and You are responsive to the word of God; and it is in personal co-presence that the theophany of “the absolute person” may occur. This paper explores these tenets of “philosophy of dialogue” at their fringes. Accordingly, it explores the impersonal in the person and the monologue in dialogue. More specifically, it aims to show how: (a) the impersonal in the person is disclosed in love and angst and how (b) the monologue in dialogue is expressed in a poetics of the impersonal.
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Bowman, Matthew. "Art Criticism in the Contracted Field1." Journal of Aesthetics and Art Criticism 79, no. 2 (March 15, 2021): 200–212. http://dx.doi.org/10.1093/jaac/kpab003.
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Abstract Just over a decade-and-a-half ago, a roundtable discussion published in the pages of October worried that the periodic renewal of critical discourses had slowed to a standstill and that art criticism was faced with obsolescence. Such an obsolescence should be understood in a broadly Hegelian manner: the danger is not that art criticism would disappear from the cultural field, but that it will continue—although drained of its previous necessity. Such fears perhaps run the risk of exaggeration, yet this article shall suggest that there seems a sense in which the field of art criticism has contracted in recent years. Self-reflexivity in art and the popularization of “para-curatorial” approaches, for instance, often underpin the artwork discursively before the arrival of art criticism upon the scene. To be sure, such circumstances are viewable positively as interdisciplinary dialogical opportunities, but the negative flipside here is that art criticism’s potential contribution becomes increasingly minimized. From another angle, critics such as Isabelle Graw have contended that the economic-cultural regime of post-Fordism, with its attention on intellectual labor and knowledge production, might actually hold possibilities for the contemporary art critic—but even here, I argue, art criticism becomes contracted, albeit in the other meaning of the word.
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Cai, Keru. "Looking, Reading, and Intertextuality in Ding Ling's “Shafei nüshi de riji” 莎菲女士的日記 (Miss Sophia's Diary)." Prism 17, no. 2 (October 1, 2020): 298–325. http://dx.doi.org/10.1215/25783491-8690404.
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Abstract This article examines Ding Ling's 丁玲 (1904–86) practice of intertextuality in her famous 1927 story “Shafei nüshi de riji” 莎菲女士的日記 (Miss Sophia's Diary) by means of the Bakhtinian concept of dialogism. Sophia's diary is in dialogue with a plethora of texts she has read or encountered before. Ding Ling uses these intertexts to shed light on Sophia's negotiations with the New Woman's identity, as well as with the medium of the written word. At the same time, Sophia's diary is perennially in dialogue with anticipated readers or interlocutors. The story's thematization of reading is inseparable from the motifs of looking and gazing: just as Sophia is constantly preoccupied with how people look at her, she is anxious about how her diary will be read. Thus, her diary has an inherently dialogical stance as Sophia flirts with different intertextual ways of defining herself, always implicitly in contention with others who might view or read her otherwise. The article ends by reflecting on the resonances between Sophia's textual flirtations and the story's depictions of erotic desire, suggesting that the idea of promiscuity emerges as a figure for the practice of intertextuality during the May Fourth period.
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Norén, Kerstin, and Per Linell. "Meaning potentials and the interaction between lexis and contexts." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 17, no. 3 (September 1, 2007): 387–416. http://dx.doi.org/10.1075/prag.17.3.03nor.
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This article is a contribution to a theory of lexical semantics and situated sense-making which aims at explaining how meaning is constituted in and across contexts, in a dialogical interplay between lexical resources and aspects of situations. We propose that the semantics of words or grammatical constructions are not just abstract schemas, to be filled in by pragmatic enrichment in situated uses. Nor are words associated with simple lists of different usages. Instead, we propose a theory of meaning potentials. The basic assumptions of such a theory are that linguistic resources provide language users with semantic resources to understand, say and mean specific things in particular usage events, and that this always involves an interplay with contextual factors. The study reported here is an exercise in empirical pragmatics, using authentic data from language use. We explore the meaning potential of the Swedish adjective ny ‘new’ by examining its interplay with a specific grammatical construction, x-och-x (‘x-and-x’: in English roughly ‘x, it depends on what you mean by x’). X-och-x is a conventionalised and (largely) conversational practice, by which language users activate and negotiate parts of the meaning potential of a word x, such as ny, in order to establish a local situated meaning of it. In doing so, they exploit their knowledge of what x can mean, performing what can be seen as users´ semantic analyses in authentic communicative interaction. Our study can also be read as a contribution to Construction Grammar, attempting to develop a more dynamic, interactional interpretation of this theory than has previously been put forward in the literature.
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Kireeva, Elena Zakirovna. "On Opportunities of Dictionary “Response Remarks in Russian Dialogic Speech” by V. T. Bondarenko." International Journal “Speech Genres” 28, no. 4 (2020): 317–24. http://dx.doi.org/10.18500/2311-0740-2020-4-28-317-324.
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Review on «Dictionary of response remarks in Russian dialogical speech» by V. T. Bondarenko. The dictionary is based on a concept that is developed from the idea of dialogism of human consciousness. The object of study is response remarks, i.e. words and phraseological units whose illocutionary purpose is to respond to a word or phrase of another participant of the dialogue. They are characterized by stability in language and reproducibility in speech. Responses are defined as performative signs: they are used to express the psychological state (reaction) of the speaker, caused by an initiative phrase or ”hook”-word. The paper describes macro- and microstructure of the dictionary, characterizes the semantic and syntactic aspects of the response remarks, and enumerates their functions. The author of the review shows a number of ways to use the dictionary. Responses are linked to typical situations and everyday situations of communication (meeting, acquaintance, addressing, attracting attention, etc.), to conversation topics, and therefore, are of interest to researchers dealing with genres of oral speech. Since the responses are connected with the stereotypes of thinking, behavior and mental reactions of Russians, their research is important for ethnolinguists. The dictionary data can enrich linguistic and cultural studies of cultural concepts. Due to the playful (humorous) function inherent to responses, they may be of interest when studying the essence of the comic. The dictionary materials give a systematic idea of the expression of the comic in the Russian language. The open evaluability of response remarks makes them a unique research material for studying the categories of axiology, evaluability, and textual modality. The analysis of the context of responses, the system of marks and illustrations is valuable for researchers of speech culture and speech etiquette. It will be fruitful for psycholinguists developing a theory of reactivity. The dictionary has a wide range of response variations, so it is of great importance for phraseologists who study the variation of set phrases. Studying the response remarks will be useful to researchers of children’s speech as vocabulary, syntax, rhythm of response replicas, and images in them are organical for the child’s perception and can be easily reproduced. For gender studies of language, the research of these units is important because they allow you to get information about gender characteristics, and marks and illustrations – to compare the tactics of speech behavior of men and women. The dictionary has a great educational value for any person, because thanks to the non-standard and unusual material of the dictionary, everyone can enrich their speech.
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Васьківська, Галина, Світлана Паламар, and Леся Порядченко. "Psycholinguistic Aspects of Formation of Culture of Dialogical Communication." PSYCHOLINGUISTICS 26, no. 2 (November 12, 2019): 11–26. http://dx.doi.org/10.31470/2309-1797-2019-26-2-11-26.
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Introduction. The article presents the results of researching the samples of English-speaking literary heritage, which reveals psycholinguistic features of dialogical communication and peculiarities of communicants' perception of interactions meanings in dialogic speech. The technique of detecting the frequency of using different dialogues that differ in number of replicas is described.
Objective. The purpose of the article is to characterize the psycholinguistic features of dialogical communication, to study units of the dialogue as means of forming a culture of communication of those who get aeducation.
Methods. The methods of analysis of domestic and foreign works of art, analysis of dictionary definitions, methods of contextual and logical-semantic analyzes, elements of statistical analysis are used in the article.
Results. It is substantiated that dialogue as a form of a communicative act is the most used form of verbal activity in which the text categories of communicants are implemented, their interpersonal relations are displayed, speech communication strategies appear, etc. Dialogue speech is characterized as a situational and thematic community of communicative motives in verbal statements consistently generated by two or more interlocutors in the direct act of communication. The frequency of the use of dialogues consisting of different amounts of dialogical unities is revealed. It is defined average number of dialogues consisting of dialogical unities; the frequency of dialogue with a different number of dialogical unities. It is considered the definitions of dialogue, dialogism, dialogical learning, dialogical speech, dialogical communication; it is characterized of the developed system of exercises and tasks for forming a culture of dialogical communication.
Conclusions. It is concluded that for the formation of a culture of dialogical communication of the educational recipients, it is of great importance to turn to highly artistic samples of literature for the purpose of emotional perception of them; creating situations of empathy with the characters of the work by «impersonation» in these images; work on dialogical situations; the use of dialogues as a means of socialization.