- (Greek dialogos initial meaning of a conversation between two persons) verbal exchange between two, three or more interlocutors. The possibility that such a juxtaposition opens up in a conversation between several persons has long compelled writers ... ... Literary encyclopedia

dialogue- a, m. dialogue lat. dialogus c. dialogos. 1. Literary genre in the form of a conversation between two or more characters. Sl. 18. Theodorite in the first dialose .. this will tell. Own. 42. // Sl. 18 6 124. Dialogue is sent to you in French, which ... Historical Dictionary of Russian Gallicisms

The form of speech, conversation, in which the spirit of the whole arises and makes its way through the differences of remarks. D. can be a form of development of poetry. design (especially in drama, where he opposes the monologue and the crowd scene); form of training: then ... ... Encyclopedia of Cultural Studies

- (French dialogue, from Greek dialogos). Conversation between two or more persons: a form of presenting dramas. works. Dictionary of foreign words included in the Russian language. Chudinov AN, 1910. DIALOGUE conversation of two parties, two persons. Also… … Dictionary of foreign words of the Russian language

Dialogue- DIALOGUE. Any interview is called a dialogue in a broad sense; in particular, the exchange of thoughts ("Dialogue" by Plato). Dramatic dialogue exchange of dramatic remarks has a special content. The word is effective in the drama. Every scene in the drama is ... ... Dictionary of literary terms

- - Association of Economists of Russia and Germany (dialog e.V. - Vereinigung deutscher und russischer Ökonomen) ... Wikipedia

- - Association of Economists of Russia and Germany (dialog e.V. - Vereinigung deutscher und russischer Ökonomen) Type Public association Foundation year ... Wikipedia

dialogue- (from the Greek dialogos) alternate exchange of remarks (in a broad sense, a response is also a response in the form of an action, gesture, silence) of two or more people. In psychology, D.'s research related to the analysis of the social mechanisms of the psyche began in the 20th century ... Great psychological encyclopedia

Cm … Synonym dictionary

Dialogue- Dialogue ♦ Dialogue A conversation between two or more interlocutors who are anxious to find the same truth. Thus, dialogue is a kind of conversation, marked by the desire for the universal, and not the isolated (as opposed to confession) or the particular (as in ... ... Sponville's Philosophical Dictionary

See Philosophical Dialogue. Philosophical Encyclopedic Dictionary. M .: Soviet encyclopedia. Ch. edited by L. F. Ilyichev, P. N. Fedoseev, S. M. Kovalev, V. G. Panov. 1983. DIALOGUE ... Philosophical Encyclopedia

Books

  • dialogue, ivan & anton. The book is a fragment of personal SMS-correspondence between two friends living in different cities. This dialogue is not a dialogue in the usual sense. It is rather a SPACE of communication. "Herbarium… eBook

the most important quality of the therapist-client relationship and the ideal of interpersonal relationships. Closely related to the concept of I - You is a relation introduced by the philosopher M. Buber. R. Reznik describes the characteristics of the dialogical relationship between the therapist and the client in the following way: “The therapist demonstrates presence - that is, the therapist's own experience and phenomenology are applicable. Then there is inclusiveness - the therapist incorporates himself into the client's experience and phenomenology. Thirdly, there is an invitation to dialogue - to allow magic to manifest itself, which can spread in the “space” of meeting people ”[Reznik (23), p. ten]. Literature:

Dialogue

Greek di? logos - conversation, conversation] - alternate exchange of replicas (in a broad sense, a response in the form of an action, gesture, silence) of two or more people is also considered a replica. D. was a widespread form of philosophical and scientific works in antiquity and in modern times (Xenophon, Plato, G. Galilei, N. Malebranche, D. Diderot, and others). In psychology, D.'s research related to the analysis of the social mechanisms of the psyche began in the 20th century. (the cultural-historical theory of L.S.Vygotsky, interactionism, psychoanalysis, the theory of J. Piaget, the works of M.M.Batkhin, etc.). A special area, which has been actively developed since the 1970s, is made up of the psychological problems of a person with a computer. The significance of dialectic for psychology lies in the fact that in a child, dialectic (speech evoked by an adult, addressed to an adult and directly related to an action) is a structural and genetically initial, and then, during a person's life, a universal component of verbal communication. Each D.'s replica (utterance) - a unit of the individual's speech - has a substantive reference (a replica about something) and a social character (addressed to a partner is regulated by microsocial relations between partners). D., ontogenetically preceding internal speech, leaves an imprint on its structure and functioning, and thereby on consciousness as a whole. L.A. Radzikhovsky

DIALOGUE

from the Greek. dialogos) - alternate exchange of remarks, a conversation between two or more persons. In the course of the conflict, D. is characterized by verbal opposition, high emotional saturation, a rigid orientation towards the subject of the conflict, and dependence on the state of interpersonal relations.

Dialogue

Greek dia - time ..., re ...; logos - speech) - 1. a conversation between two or more persons. It involves the mastery of a number of speech skills (for example, adherence to the order in a conversation, the ability to listen, the use of clarifying, leading and other questions, etc. Ortega-Y-Gasset (1883 - 19550 claims that a person's speech is essentially dialogical. disorders, the ability to conduct a dialogue can be significantly impaired or completely lost; 2.negotiation, free exchange of opinions between two parties, In the form of a dialogue, inner speech can also be built; 2.in psychopathology - speech, built according to the model of dialogue, but addressed to an imaginary interlocutor, personified in a verbal hallucination, imagined in a dream by the interlocutor during sleep talk, etc. See also Dialogolalia.

Dialogue

exchange of remarks, interconnected by the content of thoughts-judgments between 2 or more people (the latter case is sometimes called a polylogue). D.'s research is being conducted in various. branches of knowledge (philosophy, cultural studies, pedagogy), in line with decomp. directions - in the cultural-historical school of L. S. Vygotsky, the symbolic interactionism of J. G. Mead, psychoanalysis of Z. Freud, in the works of J. Piaget, M. M. Bakhtin, L. P. Yakubinsky and others. a complex speech complex, which includes chains of intertwining and parallel replicas, can be distinguished externally. When real interlocutors exchange replicas, and ext. When cues are exchanged with some absent or imaginary partners. D. have decomp. character: phatic, informational, discussion, confessional (A. V. Mudrik). Phatic D. - the exchange of speech statements solely for maintaining contact - was described by the English ethnographer B. Malinovsky, who noted that in some archaic cultures phatic O. has the character of a ritual, because it creates an individual feeling of belonging to his fellow tribesmen. Fatal D. is very common in modernized societies, performing the function of maintaining a person's prosperous self-awareness in relations with others, allowing people to exchange emotional values. level, while using a minimum of lexical units and not telling each other any information, except for the message "I am with you" and "we are with you." Phatic D. is especially important for adolescents and older adolescents. Phatic D. can also be external. and int. In the latter case, in quality. partner is, as a rule, a real person, O. with which it is impossible because of his spatial remoteness or because of the relationship with him. Informational D. - the exchange of information itself decomp. properties, gleaned from a variety of sources, to-ry occurs between people. Informational D. is also inherent in both external and internal. A. In the latter case, a person “informs” himself, other I, an imaginary or real partner who is absent at the moment, about his actions, intentions, experiences, or something else. Discussion D. arises in a collision decomp. t. sp., in the case when differences appear in the interpretation of certain facts, events, etc. Discussion D. accompanies O. in all spheres of life, because interaction in each of them usually requires the coordination of individual efforts of partners, which, usually occurs during a discussion. Quite often the controversial D. arises in vnutr. A. Int. a person conducts discussions both with other selves and with imaginary or real persons. Int. debatable D. gives a person the opportunity to take the position of a researcher in relation to another character, to his actions and thoughts. Confessional D. occurs in a confidential O. with friends, with loved ones, with a spouse, when a person tries to be extremely frank, seeks to share his feelings and experiences with the interlocutor. Confessional D. in int. O. takes place when in solitude a person loses numerous. roles that are inaccessible to him in real life, communicates with fictitious or real, but inaccessible to him partners, or even with fictitious partners. Int. confessional D. is realized in fantasies, games-dreams and dreams. Each person at different stages of socialization participates in dialogues of all types; each subsequent type of D. can be recognized as deeper in content and emotionality O. Lit .: Bakhtin M. M. Problems of Dostoevsky's poetics. M. 1989; Mudrik A.V. Communication as a factor in the education of schoolchildren. M., 1983; Sokovnin V.M. Intracommunicative aspects of personality socialization / Problems of the formation of sociogenic needs. Tbilisi, 1974; Yakubinsky L.P.On dialogical speech // Russian speech. SPb., 1923. A. V. Mudrik

Human speech takes on different forms, and one of them is dialogue. Each student should understand what it is, what varieties this form of speech has and what features it is characterized by. It is curious that a person conducts dialogues every day, without even noticing it.

What is dialogue and why is it needed

When people talk to each other, they are in dialogue. A prerequisite for this form of speech is the presence of two or more interlocutors. The statements they exchange are called cues, which must be interconnected. That is, if Petya is talking about an apple, and Masha is talking about a pumpkin, then this is not a dialogue. Another prerequisite is the exchange of remarks, that is, the participants must speak in turn.

It is dialogue that is the main form of human communication, that is, its main function is communication between people.

However, it does not have to be spoken out - there is also a written form of dialogue, for example, messaging in Viber or Skype. Writing also includes dialogues in literary works, they are an integral part of theatrical scripts.

In the case of a theatrical production or film, dialogue exists in two forms at once - written (when it comes to the script) and oral (when the actors exchange remarks).

There is also a special kind of internal dialogue, when a person talks “to himself”, to himself.

In literature, dialogue is necessary in order to directly convey the thoughts and feelings of the characters.

Rules for writing a dialogue in Russian

If everything is clear with the oral form, then how to understand when reading that the characters are talking to each other?

For this, as in the design of direct speech, a dash is used. Remarks can be accompanied by explanations of the author about who said it and with what intonation, but they can simply go one after the other. You can understand that the remark was made by another person by the fact that it is written on a new line, with a capital letter and there is a dash in front of it.

Here's an example:

- Hello, Kolya!

- Hi Masha!

- Let's go to school together?

- Come on, it's always more fun together.

Today, there is another form of speech - this is a conversation between a person and a bot, when a user selects replicas from a list, and the bot sends him answers. It is also a kind of dialogue.

What have we learned?

From an article for grade 2, we learned that dialogue is a special form of speech in which two or more people exchange remarks that are interconnected with each other. Moreover, it can be both oral and written, as well as internal. A dash is used to highlight speech in writing. Also, the replicas of different people are written with a new line and with a capital letter. There are special rules for highlighting the words of the author, if they are used.

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DIALOGUE in literature - a conversation between two characters, their reproduced direct speech. When three or more people are talking, this is called a polylogue, but the word “dialogue” is also understood broadly, as in general the exchange of verbal cues between people.

Dialogues are the constructive basis of drama, which, however, historically early literatures consistently withstand only in comedies: tragedies in no small measure turned out to be chains of solemn monologues. Over time, the dialogue in them became more lively. This was facilitated by the displacement of tragedy by the genre of drama. On the stage, the dialogue is conditionally excluded from the dialogue, designated by remarks "to the side", as in "The Inspector General" N.V. Gogol, or “to myself”, as in the “Forest” by A.N. Ostrovsky: the actor says what the character thinks (analogue in the movie - voice-over). Dialogue was one of the means of plot movement. At the turn of the XIX-XX centuries. their role and coherent dialogicity was generally weakened: the characters of Gorky's drama At the Bottom (1902) or Chekhov's Cherry Orchard (1903) speak as if to themselves, not listening to others, often not answering them, and they do not expect an answer ... This is an exaggerated (according to the laws of theater) reproduction of the mutual alienation of people, their immersion in themselves.

In early narrative literature, dialogue was either reduced to a minimum (almost all attention was paid to events), or it tended, as in tragedy, to the combination of ritual-conditioned monologues without individualization and endowing the characters' speech with signs that would distinguish it from the author's, i.e. direct speech was actually equal to indirect speech (“he said” = “he said that ...”). The emergence of "discord" MM Bakhtin connects with ancient prose genres, and above all with the novel | 1, p. 88-144]. The individualization of the dialogue contributed to its greater dissemination. In European literatures, this process has developed over many centuries. In the 19th century, dialogue was actively used in a romantic poem: it includes scenes with the speakers' designations and remarks that fall out of the poetic size, like a drama (for example, "Gypsies", 1824, by Pushkin). Now the monologue is being "dialogized" in a number of respects. So, the lack of an answer is motivated by the psychological state of the interlocutor. In "Eugene Onegin" there is also "complete silence, sometimes very significant: Tatiana is silent, listening to Onegin's rebuke, Onegin is also silent during her monologue, which ends Pushkin's novel ...". Most of Lermontov's poem "Mtsyri" is never an interrupted monologue of the protagonist, but he never forgets that there is a listener in front of him, and constantly turns to the old monk, mainly at the beginning of chapters: "You have come to listen to my confession / I came here, thank you" , “Old man! I have heard many times, / That you saved me from death ... "," You see on my chest / Deep claw marks ... ", etc. In realistic literature, very lengthy monologues are at least occasionally interrupted by narrative pauses and remarks from the listener (for example, in “The Fate of a Man” by MA Sholokhov).

In the Russian novel, beginning with Goncharov's Ordinary History (1847), dialogues are often given no less and often much more space than the presentation and presentation of events. According to the émigré literary critic D.P. Svyatopolk-Mirsky, the social significance of Turgenev's works "is achieved by including in the novel very numerous conversations between characters on burning topics ... These conversations differ Turgenev's novels from his stories" 1. Dostoevsky's speeches of the characters are especially clearly focused on the interlocutor, on his position, hence the numerous reservations and remarks like “I just knew that you would shout ...” (Svidrigailov to Raskolnikov), “Well, so you, so to speak, and example for the future - that is, do not think that I dared to teach you: after all, what kind of articles about crimes you publish! " (investigator Porfiry Petrovich - to him). Inner speech is also dialogized, i.e. the character argues with an imaginary opponent and with himself.

The newest prose can convey dialogues and polylogs in the perception or memories of the character without punctuation separation of remarks. This is a sign that the dialogue is not being reproduced literally: either the character listened to it absentmindedly, or, after a long time, forgot it. In the "Old Man" Yu.V. Trifonov, this is how the dispute between the lawyer Konstantin Ivanovich Igumnov and the revolutionary Shura, which took place at the beginning of the revolution (started with the usual remarks in quotation marks), which took place at the beginning of the revolution: “And Shura says: every person has seconds of fear that burns through and darkens his mind ... It is impossible to define everything in the world by laws and paragraphs ... No, you can. Moreover, it is necessary. This is the guarantee of the stability of the world. Do you call a rotten society a lasting peace? It rotted precisely because the laws determine little. They are too weak. Damn it, everything is falling before our eyes! This temple is crumbling, and you are talking about some laws! Only laws can save him. ” Etc.

In poetry, there are rather long “character” poems in dialogical form: “The Poet and the Crowd” by Pushkin, “The Journalist, Reader and Writer” by Lermontov, “The Poet and the Citizen” by Nekrasov. hands under a dark veil ... ") Dialogues have been practiced in lyro-epics for a long time, especially in the ballad genre (Zhukovsky's" Svetlana ").

Dialogue is a conversation between two or more persons in a drama or prose. Or a philosophical and journalistic genre, involving an interview or an argument between two or more persons; was developed in antiquity: the philosophical dialogues of Plato, in Lucian ("Conversations of the Gods", "Conversations of the Getters", "Conversations in the Kingdom of the Dead"). Distributed in 17-18 centuries in France: "Letters to the Provincial" by B. Pascal, "Dialogues of the Ancient and the New Dead" by F. Fenelon, "Nephew of Rameau" by D. Diderot. As a genre, dialogue usually does not have an accompanying epic text, approaching in this respect with drama.

In the works of M.M. Bakhtin, the term "Dialogue" has significantly expanded its meaning... The word "dialogue" and its derivatives are used by Bakhtin in the following senses:

  1. compositional speech form of life utterance (conversation of two or more persons);
  2. any verbal communication;
  3. speech genre (everyday, pedagogical, cognitive dialogue);
  4. secondary genre - philosophical, rhetorical, artistic dialogue;
  5. constitutive feature of a certain type of novel (polyphonic);
  6. vital philosophical and aesthetic position;
  7. the formative principle of the spirit, the incomplete opposite of which is the monologue.

The spiritual sphere of meaning is its own locus of dialogical relations, which “are completely impossible without logical and object-semantic relations,” but for this they “must be embodied, that is, enter another sphere of being: become a word, that is, an utterance, and get an author, then there is the creator of this statement, whose position it expresses. " This makes Bakhtin's interpretation of dialogue and dialectics understandable. Dialectics is a reifying attitude transferred to the realm of meaning, and dialogue is a personifying attitude in this spiritual realm. According to Bakhtin, dialogical relations are not logical, but personal. Ignoring this provision contributed most of all to the erosion (and devaluation) of the meaning of the category of "dialogue" in the mouths of Bakhtin's interpreters. It is still customary to consider object and subject-object relations - man and machine, different logics or linguistic units, even neurophysiological processes - as dialogical, and not subject-subjective. Personality, personality, subjectivity is the second (after “sense-spirit”) differential feature of dialogical relations. The participants in these relations, according to Bakhtin, are “I” and “the other”, but not only them: “Each dialogue takes place, as it were, against the background of a reciprocal understanding of the invisibly present“ third ”standing over the participants in the dialogue (partners)”. The third participant in the event of the dialogue is Bakhtin's empirical listener-reader and at the same time God.

Bakhtin's approach, while retaining the status of a real life relationship for dialogue, not abstracted (not abstracted) from the empirical situation, not turning it into a convention (not metaphorizing it), at the same time gives rise to a special kind of expansion of the meaning of the word "dialogue". The dialogue understood in this way covers a wide sphere of relations and has different degrees of expression. To determine the lower limit of dialogical relations, the concepts of "zero" degree of dialogicity and "unintentional dialogicity" are introduced. An example of “zero dialogical relations” is “a situation of dialogue between two deaf people widely used in comics, where there is real dialogical contact, but there is no semantic contact between replicas (or imaginary contact) - here“ the point of view of the third person in the dialogue (who does not participate in the dialogue, but understanding it. Understanding the whole utterance is always dialogical. " there is at least some semantic convergence. "In this case, as in the case of zero degree, the role of the explicator of dialogical relations is played by the" third "who understands.

The upper limit of dialogicity is the speaker's attitude to his own word. They become possible when the word acquires a double intention - it turns out to be directed not only at the object, but also at someone else's word about this object. Bakhtin calls such a statement and a word two-voiced. Only when the author turns to the two-voiced word does the compositional-speech form of dialogue cease to be an external form and becomes internally dialogical, and the dialogue itself becomes a fact of poetics. The spectrum of dialogical relations, realized by the two-voiced word, is not reduced to confrontation and struggle, but presupposes both disagreement and mutual appeal of independent voices, and agreement ("sympathy", "solubility"). The dialogical word and the dialogical author's position found the highest degree of their development in Dostoevsky's polyphonic novel, but a certain degree of dialogicity, according to Bakhtin, is a necessary condition for authorship: “An artist is one who knows how to be active outside of life, not only participates in life and understands it from within, but also loves it is from the outside - where it does not exist for itself, where it is turned outside itself and needs extra-present and non-semantic activity. The divinity of the artist lies in his involvement with the highest external availability. But this externality to the event of the life of other people and to the world of this life is, of course, a special and justified type of participation in the event of being. " Here we are not talking about abstraction from the event, not about one-sided ("monologic") externality, but about a special kind ("dialogical") presence of the author both inside the event and outside it, about its immanence and at the same time transcendence to the event of being.

The word dialogue comes from Greek dialogos, which means conversation.