The emphasis in most process-oriented models of argumentation is placed heavily upon analysis of dialogue. The current work puts forward an account which examines the argumentation involved in persuasive monologue, drawing upon commitment-based theories of dialogue. The various differences between monologue and dialogue are discussed, with particular reference to the possibility of designing a monologue game in which commitments are dynamically incurred and updated as the monologue is created. Finally, the computational advantages of adopting such an (...) approach are explored in the context of an existing architecture for the generation of natural language arguments. (shrink)

The study analyses a narrative monologue, an inner monologue, and a monologue which includes a dialogue between the author and the reader/spectator, from the point of view of the recipient’s participation in the narrative. It employs Muka?ovský’s analysis of to what extent a monologue is present in every dialogue as well as latent and sometimes manifest dialogue features present in every monologue, along with the side-participation of hearer/spectator. The notion of side-participation is expanded on the (...) triangular model of attention with continual presence of ego-consciousness. Thus every monologue has a side-participant who consequently holds a conversation with himself, especially in the case of an aesthetic attitude. Each member of a communicative situation embodies three roles: those of a speaker, a hearer and a side-participant. (shrink)

The writer of the below thought he would do something clever and out of the way. I tried to dissuade him, but without success. I told him that readers would prefer a more sober scholarly approach. I tried to appeal to his other work and his systematic proclivities. Why not try like Schelling to produce a system of freedom? He looked at me queerly. I was a bit taken aback when he burst out laughing in my face, and blurted out: (...) “You must not have read Dostoevski’s Notes from the Underground!” I’m afraid he has spent too much time with the prodigals he has written about. He muttered something almost inaudible about Dostoevski’s double, but I said nothing.If I am not mistaken these pieces have to do with four great and very influential philosophers: Kant, Hegel, Marx, Nietzsche. To help the reader I have put the abbreviation K, H, M and N before each ‘monologue.’ In fact, I am not sure if the writer was mocking me: as if my sober efforts to talk of these four thinkers was being doubled with voices like and unlike; voices as if spoken from within, and yet said to have come from beyond; ego and alter; an odd twin of my scholastic sobriety. (shrink)

In educational discourse dialogue tends to be viewed as being (morally) superior to monologue. When we look at them as basic forms of communication, we find that dialogue is a two-way, one-to-one form and monologue is a one-way, one-to-many form. In this paper I revisit the alleged (moral) superiority of dialogue. First, I problematize certain normative features of dialogue, most notably reciprocity. Here I use Socrates as my example (the Phaedrus). Second, I discuss monologue, using Jesus as (...) my example (St. Luke's gospel). I argue that there are values in the monological form that tend to be overlooked and unrecognized, for example the freedom of the audience not to respond. (shrink)

To build an argument--and particularly an argument presented as a monologue--a writer must assemble and marshal a battery of supports for a claim. Some of those supports will be arranged in convergent structures, some as linked; some will be expressed, some will be left implicit; sometimes a support will need further support of its own--and sometimes, not. This paper explores the factors which lead a writer to make particular choices, the interactions between those factors, and the constraints on a (...) w riter's freedom in exercising her power, drawing on recent findings in computational modelling of the generation process. (shrink)

One particularly interesting aspect of Hirschkop’s essay is the repertoire of “double-voiced words” it displays. I will enumerate just three of them:1. The Misaddressed Word. Apparently, Hirschkop has been arguing these points with someone else, whose voice has drowned out what was actually said by myself and the other contributors to the Forum on Bakhtin. In a number of cases, Hirschkop objects that we failed to say things that were, in fact, explicitly stated and attributes to us a different, phantom (...) position, which he then cites as evidence of “liberal,” individualistic, and “cold war” biases . Likewise, I ostensibly “implied” a number of things, thought Hirschkop offers no direct quotations as evidence .2. The Word That Lies in Ambush . In a way that has become increasingly common in theoretical essays, Hirschkop contents himself with stating only what is not the case and neglects telling us his conception of the alternative, correct position. For example, Hirschkop says: “Such ambiguities [in Bakhtin] are not the sign of an open and skeptical mind, but neither are they mere inconsistencies which can be safely ignored” . In consequence, respondents who presume to guess at his position, whether they guess rightly or wrongly, are subject to an accusation of total or partial misrepresentation of his position or, perhaps worse, of drawing typically liberal inferences.3. The Preemptive Word . Using a strategy familiar to most polemicists, Hirschkop attempts to discredit his adversaries by anticipating their objections within his own argument. Unfortunately, he projects responses—that no one has made—as if those responses were inevitable and seeks to dismiss them simply by naming them rather than answering them. Thus, he accuses my fellow contributors and me of a “kind of relativism, whose ideological affinities with the commonplaces of Western cold war discourse cannot be missed” and which “crops up again and again when Bakhtin is interpreted” . The phrase in parentheses and the word in quotation marks are an example of preemptive discourse. Gary Saul Morson is the author of The Boundaries of Genre: Dostoevsky’s “Diary of a Writer” and the Traditions of Literary Utopia and the editor of Literature and History: Theoretical Problems and Russian Case Studies . He is currently completing a book on Tolstoy, one chapter of which appeared in the Summer 1981 issue of Critical Inquiry. He was the guest editor of Critical Inquiry’s Forum on Mikhail Bakhtin, for which he wrote the introduction, “Who Speaks for Bakhtin?”. (shrink)

“Reasonable hostility” is a norm of communicative conduct initially developed by studying public exchanges in education governance meetings in local U.S. communities. In this paper I consider the norm’s usefulness for and applicability to a U.S. state-level public hearing about a bill to legalize civil unions. Following an explication of reasonable hostility and grounded practical theory, the approach to inquiry that guides my work, I describe Hawaii’s 2009, 18-hour public hearing and analyze selected seg-ments of it. I show that this (...) particular public hearing raised demands for testifiers on the anti-civil union side of the argument that reasonable hostility does not do a good job of addressing. Development of a norm of communication conduct for this practice, as well as others, must engage with the culture and time-specific beliefs that a society holds, beliefs that will shape not only how to argue but what may be argued and what must be assumed about particular categories of persons. (shrink)

Editor's note: Adrian Piper is a conceptual artist whose work from the past twenty-five years has included performances, graphic art, and installation pieces. Always provocative, Piper seeks to challenge viewers' assumptions about the nature of art, aesthetic response, and modes of evaluating by creating art that involves issues of gender and race. Piper uses political art to confront viewers with emotionally charged environments that preclude our maintaining a safe, aesthetically distanced stance toward the subject matter. being forced to confront our (...) own prejudices, both emotionally and aesthetic ally, we undergo a process of change that is both cognitive (evidenced by how our interpretations of the work change and evolve) and affective (resulting in a higher level of social awareness and sensitivity). Thus, according to Piper, political art has "the potential for furnishing a forceful antidote to racism." The following two statements consist of text written by Piper and recorded on audiotapes for two installation pieces, "Four Intruders Plus Alarm Systems" (1980) and "Safe" (1990). (shrink)

This paper examines how, building on earlier filmic representations such as Ousmane Sembene’s La Noire de… and Abderrahmane Sissako’s Bamako, Khady Sylla’s Le Monologue de la muette traces a continuum of women’s exploitation, from slavery to colonization to globalization.

This chapter examines the role of the situation model in referential processing and how it can link what appear to be incompatible results from studies of monologue and dialogue as well as studies of reading and visual-world eye tracking. It shows that data from experiments on pronoun resolution in reading indicate a two-step model, in which candidate antecedents for an anaphor are first identified on the basis of gender matching and number matching, then evaluated with respect to the overall (...) situation model. In similar visual-world studies, these stages are seemingly collapsed together, which can be explained in terms of differences in how the situation model is related to the text versus the visual display of potential referents. The chapter suggests that comparing these different types of studies can elucidate the processes of reference resolution. (shrink)

Open peer commentary on the article “Towards a Dialogue Among Constructivist Research Programs” by Gastón Becerra & José Antonio Castorina. Upshot: Gastón Becerra and José Antonio Castorina compare a selection of constructivist epistemologies aiming at a general definition of constructivist epistemology. While I can agree on many aspects of their critical analysis, I want to underline some concerns but also argue for enhanced methodological perspectives.

In his new text of Euripides James Diggle shows that he has the courage of his convictions: he deletes the last twenty-five lines of Medea's great monologue. He is to be applauded for following ratio et res ipsa where it leads him and being undaunted by the sight of so much blood. No editor of Euripides before him, as far as I am aware, has ever been courageous enough to put these lines in square brackets, although their deletion had (...) been a subject of discussion for exactly one hundred years at the time Diggle's edition appeared. But though Diggle is to be praised for his courage in following reason, I believe he is mistaken. The arguments for excision are far from negligible, and defenders of the passage show a regrettable tendency to underestimate their force. But while I shall give these objections as much weight as any of those who urge deletion, I shall argue that there is a much more economical way of dealing with them than large-scale amputation. I shall accordingly pay close attention to the problems for which excision is the proposed solution, with inevitable repetition of earlier scholars' arguments. Since I have myself recommended athetesis of long passages on several occasions, I do not think I will be regarded as insufficiently alive to the possibility of interpolation or overly reluctant to wield the knife. In this instance, however, there are strong stylistic grounds for believing in the genuineness of most of the passage in question. (shrink)

Mary Hobgood employs "structural analysis" to describe the basic causes of poverty in the United States today and to critique the current debate over welfare reform. Rhetorically, the essay is monological, asserting a point of view without attending to its critics. It would be greatly strengthened by a dialogue with perspectives in both social science and Christian ethics. Giving ear to the former, Hobgood might have avoided a number of controversial causal attributions. Engaging the latter, Hobgood might have provided a (...) stronger argument for her "expanded" principle of distributive justice, which is both more egalitarian and less rooted in human needs than are other Christian ethical analyses of the moral claims of the poor. (shrink)

When 16- and 17-year-old students are required to write a framed argumentative text which first supports position A and then supports an opposing position B, the familiarity of the debated topic seems to determine the “argumentative quality” of the texts produced. Indeed, the possibility of getting personally involved in the discourse leads to more effective writing strategies and to the use of typical marks of argumentation.

Despite a growing body of evidence to the contrary, the running slave , and particularly the often lengthy entrance monologue of the running slave, is generally considered a distinctly Roman phenomenon, an exuberant growth of the Latin soil, albeit from Greek seed.1 There are two reasons for this. One reason is the frequency with which the motif appears in the comedies of Plautus and Terence, in sharp contrast with the absence of any single undisputable New Comic example. The second (...) reason is Eduard Fraenkel's Plautinisches im Plautus which, sixty-five years after its publication, remains the most authoritative scholarly work in the field of Roman comedy. In this book Fraenkel argues that Plautus' running-slave scenes, particularly the monologues of the Curculio and the Captivi , are a veritable nexus of original Plautine traits. (shrink)

EVE ENSLER'S CONTROVERSIAL PLAY, THE VAGINA MONOLOGUES, HAS INcited both passionate support and harsh protest. Among its most vehement critics are those lobbying to ban performances at all Catholic colleges and universities. Most critics argue that the text challenges traditional Christian norms of heterosexual marriage. While not incorrect, I argue that visceral reactions against the word "vagina," together with fears about the liturgical and evangelical qualities of Ensler's play and the V-Day organization, may factor even more heavily in people's condemnations. (...) I encourage readers to see the movement not as an attack on Christianity but as an attempt to meet needs that orthodox traditions have heretofore left unmet, and a call to acknowledge the disastrous effects for women and girls that arise from inappropriate silence and undue delicacy surrounding matters of female sexuality. (shrink)

The most distinctive and highly valued poems of the modern era offer an image of a dramatized "I" acting in a concrete setting. The variety and importance of the poems which fall under this description are suggested simply by the mention of such names as "Elegy Written in a Country Courtyard," "Tintern Abbey," "Ode to a Nightingale," "Ulysses," "My Last Duchess," "Dover Beach," "The Windhover," "The Darkling Thrush," "Sailing to Byzantium," "Leda and the Swan," "The Love Song of J. Alfred (...) Prufrock," "Stopping by Woods on a Snowy Evening." The power and beauty of such poems seems intimately connected with the fact of their dramatic integrity and autonomy, and we have all been taught, in analyzing them, to refer to a "speaker" existing independent of the poet and to avoid the "intentional" and "biographical" fallacies which spuriously link the poem to the poet and the world outside the poem. Such an approach tends to undercut any notion that a poem has a single definite meaning, the meaning the poet gave it, and to support the idea that the meaning of a poem is indeterminate and/or multiple. All this is quite in accord with the orthodox critical doctrine that poetic language is differentiated from scientific language and preserved from competition with it by the fact that it is nonreferential, making no claim upon the real world; and complex, indefinite, and alogical, where scientific language is simple, definite, and logical. Ralph W. Rader is chairman of the department of English at the University of California at Berkeley. His previous contributions to Critical Inquiry are "Fact, Theory, and Literary Explanation" , "Explaining Our Literary Understanding: A Response to Jay Schleusener and Stanley Fish" , and "The Literary Theoretical Contribution of Sheldon Sacks" . Professor Rader's influential studies include Tennyson's "Maud": The Biography Genesis, "Literary Form in Factual Narrative: The Example of Boswell's Johnson," and "The Concept of Genre and Eighteenth-century Studies.". (shrink)

In this essay I reflect on fear and cultural exhaustion and their effect on our language, as possible causes, among many others, of the rise of nationalist and chauvinist feeling across Europe today. By fear I mean the fear of not understanding and of not being understood by the other, which may affect us in various ways; by exhaustion I refer to our modern work life with its permanent accessibility and the uncontrolled flood of pictures and information we are exposed (...) to by digitization, as well as to the more general cultural exhaustion when it comes to discussing “values” or “ideas,” which more and more people see as empty words. This pervasive sense of fear and exhaustion has a substantial effect on our language, for the use of readymade phrases, as in the German “Phrasendreschen”, tends to see them as identity markers and thus to induce resentment against those who do not belong to the same in-group. But language, once it is reduced to a mere instrument for transmitting information, generates the sense that everything has already been said, and in feeding our cultural exhaustion and boredom, leads us to abandon the notions of utopia, irony and poetry, all of which thrive on the creative inexhaustibility of language. Fear and exhaustion ultimately lead us to abandon any dialogue with others. What we need is a new way of listening, “new ears” with which to listen to what we initially perceive as “unheard” words, for without the ability to listen to “strange” words, the words of the “stranger,” no society can survive for long. (shrink)

Drawing on the author's experience in devising a localized version of The Vagina Monologues in Hong Kong, this paper critically appraises the ‘global vaginahood’ in the globalization of The Vagina Monologues and the V-Day movement that reproduces a core-periphery relationship in the transnational women's movement. As a theatrical performance and a worldwide movement, these productions are remarkable for the manner in which they raise awareness about women's sexuality and violence against women in different parts of the world. Critical questions, however, (...) remain on the rhetoric of universalism and the ethnocentric methods of the global campaign, with US women's experiences and agenda defining those of women in other parts of the world. As a worldwide campaign, the V-Day movement reproduces a hierarchical model between the global North and South, with an emphasis on Western leadership rather than coalition between partners with different experiences, priorities, and strategies. The paper argues that feminists may develop more effective coalitions with local women by recognizing and identifying locally derived creative efforts to respond to issues that are pertinent to their lives. As such, the paper is a push for dialogues in the V-Day campaign and transnational women's movement in general. (shrink)

This paper questions the connection between vaginas and feminist embodiment in The Vagina Monologues and considers how the text both challenges and reinscribes systems of patriarchy, compulsory heterosexuality, and ableism. I use the Intersex Society of North America's critique as a point of departure and argue that the text offers theorists and activists in feminist, queer, and disability communities an opportunity to understand how power operates in both dominant discourses that degrade vaginas and strategies of feminist resistance that seek to (...) reclaim and celebrate them. (shrink)

In many communities around the world, speech to infants and small children has increased mean pitch, increased pitch range, increased vowel duration, and vowel hyper-articulation when compared to speech directed to adults. Some of these IDS and CDS features are also attested in foreigner-directed speech, which has been studied for a smaller range of languages, generally major national languages, spoken by millions of people. We examined vowel acoustics in CDS, conversational ADS, and monologues directed to a foreigner in the Towet (...) dialect of the Papuan language Nungon, spoken by 300 people in a remote region in northeastern Papua New Guinea. Previous work established that Nungon CDS entails optional use of consonant alteration, special nursery vocabulary, and special morphosyntax. This study shows that Nungon CDS to children aged 2;2–3;10 lacks vowel hyper-articulation, but still displays other common prosodic traits of CDS styles around the world: increased mean pitch and pitch range. A developmental effect was also attested, in that speech to 2-year-olds contained vowels that were significantly longer than those in speech to 3-year-olds, which in turn had vowels of similar duration to those in Nungon ADS. We also found that Nungon FDS vowel triangles, measured from monologues primarily directed to a non-native speaker, were significantly larger than those of either CDS or conversational ADS, indicating vowel hyper-articulation. The Nungon pattern may align with the patterns of vowels in Norwegian IDS, CDS, and FDS, where hyper-articulation is found in FDS, but not CDS or IDS. The languages of the New Guinea area constitute 20% of the world's languages, but neither an acoustic comparison of vowels in CDS and ADS, nor an acoustic study of FDS, has previously been completed for any language of New Guinea. The function of an FDS style in a small, closed community like those of much of New Guinea may differ from that in larger societies, since there are very few non-native speakers of Nungon. Thus, this study uses monologues recorded with a foreign researcher as interlocutor to study Nungon FDS. (shrink)

This paper reports on research undertaken into the processes through which student teachers begin to formulate an identity as a professional teacher. Using Fuller's investigations into the attitudes of trainee teachers towards their courses (1969) as a baseline, a discussion is established on the place of the student voice in contemporary initial teacher training programmes. In order to further investigate the potential importance of affording student teachers the opportunity to reflect on and express their thinking and feeling as they embark (...) on their chosen career path, the concerns of a group of student drama teachers were recorded and interpreted. The vehicle for this exercise involved writing and subsequently performing reflective monologues. These were analysed by using The Listening Guide as composed by Gilligan et al (2003). This paper illustrates how the methodology revealed distinct yet generally harmonious voices at work in the group in the first few weeks of their training year. Subsequent analysis suggests a model for the initial formation of a teaching identity built on aspects of self role and character. Recognising the relative values and relationships between these factors for student teachers may, it is argued, provide greater security for them while affording their tutors insights which could help them to re-shape initial teacher training programmes. (shrink)

Feeling that they must aim for certainty in their claims, each side presents its version of reality, monologically, simply for acceptance or rejection by the other. In this form of argumentation, one individualistically formulated, systematic, finished version is pitted (in an essentially Neo-Darwinian struggle) against another. By its very nature, such a form of rational argumentation prevents the construction of a shared version of things; it is not dialogical. In attempting to recover what has been rendered ’rationally-invisible‘ by our modern (...) modes of (monological) reasoning, I first explore the "structures of passion and feeling" (Raymond Williams) embodied in the ways in which people in a community interrelate themselves. Attention to such structures illuminates the nature of argument in a novel, dialogical, light: those who share in such structures do not share in a system of foundational principles or a logical framework, but in a "living tradition" (MacIntyre) or "living ideology" (Billig et al.). Bakhtin‘s concept of the utterance is then explored as the basic unit for understand dialogical communication and argument within such living traditions. (shrink)

Teaching the art of profession-related communication to students of non-linguistic study fields allows instructors to explain their students how to keep up the conversation using facts, data, concepts etc. specific to the area of their future profession. It activates the acquisition processes as well as increases students' motivation to study. The formation of oral monologue speaking skills in students of non-linguistic study fields is one of the tasks within the course of Foreign ( English) Language for Specific Purposes.This process (...) is associated with certain difficulties, which can inhibit learning and demotivated students to study. Among strategies and techniques aiding learning that can be used to improve performance and study outcomes during the course and can be implemented for the enhancement of speaking on occupation-related topics, the mind mapping technique is of specific relevance. It can serve as an interesting and useful tool serving to enhance quality of oral speaking skills in students majoring in Psychology as the representatives of non-linguistic study fields. The article analyses the carried out research concerning the facilitating impact of mind mapping on the oral speech performance of Psychology students. The study hypothesis implies that the use of the mind-mapping technique in the process of preparing for and presenting the talk in the study sessions enhances students' oral monologue speech performance. In order to check the hypothesis, we have conducted the experiment in Bohdan Khmelnytsky National University of Cherkasy at the Department of Psychology. The study involved 46 first-year students, including 34 female and 12 male participants. The respondents were randomly assigned to the experimental mind-mapping group of 23 students ( including 6 males) and the control group of 23 students ( including 6 males as well). The students in the experimental group were involved into the experiment using the mind-mapping technique during their study, and the students in the control group continued their study in the usual way. The hypothesis was confirmed. The mind map use stimulates activity of both brain hemispheres, thus making it easier for students to memorize thematic vocabulary, follow the logical sequence of the talk when speaking. The research findings have shown the effectiveness of implementing the mind-mapping technique into the university course teaching English for Specific Purposes to develop, advance and master students' professional communicative competence. Consistent use of mind maps will also promote the educational process efficiency and have positive effects on the general formation of competitive skilled specialists. (shrink)

The article discusses mechanisms of manipulative influence on a theoretical basis of suggestion and on the actual material of Bulgarian press. The author supposes that adequate research requires integrated approach with symbiosis of techniques of cognitive science, linguistic pragmatics, psycholinguistics and the theory of speech activity. Manipulative action takes place not only through language (explicit and implicit), but also non-verbal instruments that have different range, different pragmatic potential, etc. The necessity of a comprehensive analysis of the hidden manipulative influence on (...) psyche which is implemented through a flexible system of complex-integrated manipulative pragmatic acts is stated. This system is projected to complete, hierarchically organized and fast changing communication technology which has the following form: cognitive and psychological basis of audience → intention of the adresser → communication strategy → verbal tactics → instruments → perlocutionary effect. Herewith the form of speech is one of the pragmatic factors having great value for actualizing manipulative potential. Communication in form of direct dialog, typical only for oral speech, has a significant resources to counter planned suggestion. Furthermore the author compares the usage of the same suggestive influence patterns in oral and written speech. So the monologue tactic is supposed to be optimal for planning and control of communicative intention, which may include the use of instruments and mechanisms with manipulative potential. Addresser has sufficient time for careful selection of communication strategies and tactics of speech, as well as for creative combination and skillful concealing of manipulativeness manifestations. The author concludes that the regularity, according to which one monologue makes manipulativeness ''tolerant'' and dialogue ''discredit'' it, reflects differently in different monologue and dialogue tactics that are relevant to different types of communicative interaction. (shrink)