Its everyday basis and counterpart is a conversational exchange between two or more people.
Having lost touch almost entirely in the 19th century with its underpinnings in rhetoric, the notion of dialogue emerged transformed in the work of cultural critics such as Mikhail Bakhtin and Paulo Freire, theologians such as Martin Buber, as an existential palliative to counter atomization and social alienation in mass industrial society.
Dialogue as a genre in the Middle East and Asia dates back to Sumerian disputations preserved in copies from the early second millennium BC and to Rigvedic dialogue hymns and to the Mahabharata. Literary historians commonly suppose that in the West Plato (c. 437 BC – c. 347 BC) introduced the systematic use of dialogue as an independent literary form: they point to his earliest experiment with the genre in the Laches. The Platonic dialogue, however, had its foundations in the mime, which the Sicilian poets Sophron and Epicharmus had cultivated half a century earlier. These works, admired and imitated by Plato, have not survived but scholars imagine them as little plays, usually presented with only two performers. The Mimes of Herodas give us some idea of their scope.
Plato further simplified the form and reduced it to pure argumentative conversation, while leaving intact the amusing element of character-drawing. He must have begun this about the year 405 BC, and by 400 he had perfected the dialogue, especially in the cycle directly inspired by the death of Socrates, and is considered a master of the genre. All his philosophical writings, except the Apology, use this form.
Following Plato, the dialogue became a major literary genre in antiquity, and several important works both in Latin and in Greek were written. Soon after Plato, Xenophon wrote his own Symposium; also, Aristotle is said to have written several philosophical dialogues in Plato's style (none of which have survived), and later most of the Hellenistic schools had their own dialogue. Cicero wrote some very important dialogues, such as On the Orator (De Oratore), On the Republic (De Re Publica), and the lost Hortensius (the latter cited by Augustine in the Confessions as the work which instilled in him his lifelong love of philosophy).
In the 2nd century AD Lucian of Samosata achieved a brilliant success with his ironic dialogues Of the Gods, Of the Dead, Of Love and Of the Courtesans. In some of them he attacks superstition and philosophical error with the sharpness of his wit; in others he merely paints scenes of modern life.
The dialogue was frequently used by early Christian writers, such as Justin, Origen and Augustine, and a particularly notable dialogue from late antiquity is Boethius's Consolation of Philosophy. The genre survived up through the early scholastic period, with Peter Abelard composing his Dialogue with a Jew, a Christian and a Philosopher in the early 12th century BC, but later, in the wake of the powerful influence of writings by Bonaventure and Thomas Aquinas, the scholastic tradition adopted the more formal and concise genre of the summa, which largely superseded the dialogue as a philosophical format.
Two French writers of eminence borrowed the title of Lucian’s most famous collection; both Fontenelle (1683) and Fénelon (1712) prepared Dialogues des morts ("Dialogues of the Dead"). Contemporaneously, in 1688, the French philosopher Nicolas Malebranche published his Dialogues on Metaphysics and Religion, thus contributing to the genre's revival in philosophic circles. In English non-dramatic literature the dialogue did not see extensive use until Berkeley employed it, in 1713, for his treatise, Three Dialogues between Hylas and Philonous. Landor’s Imaginary Conversations (1821-1828) formed the most famous English example of dialogue in the 19th century, although the wild abra appeared! dialogues of Sir Arthur Helps also claim attention and make himself more popular.
In Germany, Wieland adopted this form for several important satirical works published between 1780 and 1799. In Spanish literature, the Dialogues of Valdés (1528) and those on Painting (1633) by Vincenzo Carducci are celebrated. Italian writers of collections of dialogues, following Plato's model, include Torquato Tasso (1586), Galileo (1632), Galiani (1770), Leopardi (1825), and a host of others.
More recently, the French returned to the original application of dialogue. The inventions of "Gyp", of Henri Lavedan, and of others, tell a mundane anecdote wittily and maliciously in conversation, would probably present a close analogy to the lost mimes of the early Sicilian poets. This kind of dialogue also appeared in English, exemplified by Anstey Guthrie, but these dialogues seem to have found less of a popular following among the English than their counterparts written by French authors.
The Platonic dialogue, as a distinct genre which features Socrates as a speaker and one or more interlocutors discussing some philosophical question, experienced something of a rebirth in the 20th century. Authors who have recently employed it include George Santayana, in his eminent Dialogues in Limbo (1926, 2nd ed. 1948; this work also includes such historical figures as Alcibiades, Aristippus, Avicenna, Democritus, and Dionysius the Younger as speakers), and Iris Murdoch, who included not only Socrates and Alcibiades as interlocutors in her work Acastos: Two Platonic Dialogues (1986), but featured a young Plato himself as well.
The philosophic dialogue, with or without Socrates as a character, continues to be used on occasion by philosophers when attempting to write engaging, literary works of philosophy which attempt to capture the subtle nuance and lively give-and-take of discourse as it actually takes place in intellectual conversation.
Compare: Closet drama
Martin Buber assigns dialogue a pivotal position in his theology. His most influential work is titled I and Thou. Buber cherishes and promotes throughout his work dialogue not as some purposive attempt to reach conclusions or express mere points of view, but as the very prerequisite of authentic relationship between man and man, and between man and God. His concern with the profound nature of true dialogue has resulted in what is known as the philosophy of dialogue.
The Second Vatican Council placed a major emphasis on dialogue with the World. Most of the Council's documents involve some kind of dialogue : dialogue with other religions (Nostra Aetate), dialogue with other Christians (Unitatis Redintegratio), dialogue with modern society (Gaudium et Spes) and dialogue with political authorities (Dignitatis Humanae).
The physicist David Bohm originated a related form of dialogue where a group of people talk together in order to explore their assumptions of thinking, meaning, communication, and social effects. This group consists of ten to thirty people who meet for a few hours regularly or a few continuous days. Dialoguers agree to leave behind debate tactics that attempt to convince and, instead, talk from their own experience on subjects that are improvised on the spot. People form their own dialogue groups that usually are offered for free of charge. There exists an international online dialogue list server group, facilitated by Don Factor, co-author of a paper called "Dialogue - A Proposal," with David Bohm and Peter Garrett. ()
The Russian philosopher and semiotician Mikhail Bakhtin’s theory of dialogue emphasized the power of discourse to increase understanding of multiple perspectives and create myriad possibilities. Bakhtin held that relationships and connections exist among all living beings, and that dialogue creates a new understanding of a situation that demands change. In his influential works, Bakhtin provided a linguistic methodology to define the dialogue, its nature and meaning:
Dialogic relations have a specific nature: they can be reduced neither to the purely logical (even if dialectical) nor to the purely linguistic (compositional-syntactic) They are possible only between complete utterances of various speaking subjects... Where there is no word and no language, there can be no dialogic relations; they cannot exist among objects or logical quantities (concepts, judgments, and so forth). Dialogic relations presuppose a language, but they do not reside within the system of language. They are impossible among elements of a language.
The Brazilian educationalist Paulo Freire, known for developing popular education, advanced dialogue as a type of pedagogy. Freire held that dialogued communication allowed students and teachers to learn from one another in an environment characterized by respect and equality. A great advocate for oppressed peoples, Freire was concerned with praxis—action that is informed and linked to people’s values. Dialogued pedagogy was not only about deepening understanding; it was also about making positive changes in the world: to make it better.
Today, dialogue is used in classrooms, community centers, corporations, federal agencies, and other settings to enable people, usually in small groups, to share their perspectives and experiences about difficult issues. It is used to help people resolve long-standing conflicts and to build deeper understanding of contentious issues. Dialogue is not about judging, weighing, or making decisions, but about understanding and learning. Dialogue dispels stereotypes, builds trust, and enables people to be open to perspectives that are very different from their own.
In the past two decades, a rapidly-growing movement for dialogue has been developing. The website of the National Coalition for Dialogue and Deliberation, at http://www.thataway.org, serves as a hub for dialogue (and deliberation) facilitators, conveners, and trainers and houses thousands of resources on these communication methodologies.
Groups such as Worldwide Marriage Encounter and Retrouvaille International use dialogue as a communication tool for married couples. Both groups teach a dialogue method that helps couples learn more about each other in non-threatening postures, which helps to foster growth in the married relationship.
Dialogue is a delicate process. Many obstacles inhibit dialogue and favor more confrontational communication forms such as discussion and debate. Common obstacles including fear, the display or exercise of power, mistrust, external influences, distractions, and poor communication conditions can all prevent dialogue from emerging.
Egalitarian dialogue is a form of discussion that takes place when different contributions are considered in terms of the validity of the arguments, rather than assessing them according to the power positions of those who advocate them.
Structured dialogue represents a class of dialogue practices developed as a means of orienting the dialogic discourse toward problem understanding and consensual action. Whereas most traditional dialogue practices are unstructured or semi-structured, such conversational modes have been observed as insufficient for the coordination of multiple perspectives in a problem area. A disciplined form of dialogue, where participants agree to follow a framework or facilitation, enables groups to address complex problems shared in common.
Aleco Christakis (Structured Dialogic Design) and John N. Warfield (Science of Generic Design) were two of the leading developers of this school of dialogue, which was practiced for over 20 years as Interactive Management. The rationale for engaging structured dialogue follows the observation that an rigorous bottom-up democratic form of dialogue must be structured to ensure that a sufficient variety of stakeholders represents the problem system of concern, and that their voices and contributions are equally balanced in the dialogic process.
Today, structured dialogue is being employed by facilitated teams for peacemaking, global indigenous community development, government and social policy formulation, strategic management, healthcare, and other complex domains.
In one deployment, structured dialogue is (according to a European Union definition) "a means of mutual communication between governments and administrations including EU institutions and young people. The aim is to get young people’s contribution towards the formulation of policies relevant to young peoples lives." . The application of structured dialogue requires one to differentiate the meanings of discussion and deliberation. The latter refers to a process that is thoughtful, careful,in absence of hurry.  A formalized type of structured dialogue referred to as Structured Dialogic DesignSM (SDDSM) is used by practitioners across the world who subscribe to the strict application of its rules. SDDSM is registered as a collective service mark by the  , and is grounded on seven laws of dialogue and four axioms.
Transmission of ideas
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DIALOGUE, properly the conversation between two or more persons, reported in writing, a form of literature invented by the Greeks for purposes of rhetorical entertainment and instruction, and scarcely modified since the days of its invention. A dialogue is in reality a little drama without a theatre, and with scarcely any change of scene. It should be illuminated with those qualities which La Fontaine applauded in the dialogue of Plato, namely vivacity, fidelity of tone, and accuracy in the opposition of opinions. It has always been a favourite with those writers who have something to censure or to impart, but who love to stand outside the pulpit, and to encourage others to pursue a train of thought which the author does not seem to do more than indicate. The dialogue is so spontaneous a mode of expressing and noting down the undulations of human thought that it almost escapes analysis. All that is recorded, in any literature, of what pretend to be the actual words spoken by living or imaginary people is of the nature of dialogue. One branch of letters, the drama, is entirely founded upon it. But in its technical sense the word is used to describe what the Greek philosophers invented, and what the noblest of them lifted to the extreme refinement of an art.
The systematic use of dialogue as an independent literary form is commonly supposed to have been introduced by Plato, whose earliest experiment in it is believed to survive in the Lathes. The Platonic dialogue, however, was founded on the mime, which had been cultivated half a century earlier by the Sicilian poets, Sophron and Epicharmus. The works of these writers, which Plato admired and imitated, are lost, but it is believed that they were little plays, usually with only two performers. The recently discovered mimes of Herodas (Herondas) give us some idea of their scope. Plato further simplified the form, and reduced it to pure argumentative conversation, while leaving intact the amusing element of character-drawing. He must have begun this about the year 405, and by 399 he had brought the dialogue to its highest perfection, especially in the cycle directly inspired by the death of Socrates. All his philosophical writings, except the Apology, are cast in this form. As the greatest of all masters of Greek prose style, Plato lifted his favourite instrument, the dialogue, to its highest splendour, and to this day he remains by far its most distinguished proficient. In the 2nd century A.D. Lucian of Samosata achieved a brilliant success with his ironic dialogues "Of the Gods," "Of the Dead," "Of Love" and "Of the Courtesans." In some of them he attacks superstition and philosophical error with the sharpness of his wit; in others he merely paints scenes of modern life. The title of Lucian's most famous collection was borrowed in the i 7th century by two French writers of eminence, each of whom prepared Dialogues des morts. These were Fontenelle (1683) and Fenelon (1712). In English non-dramatic literature the dialogue had not been extensively employed until Berkeley used it, in 1713, for his Platonic treatise, Hylas and Philonous. Landor's Imaginary Conversations (1821-1828) is the most famous example of it in the ,9th century, although the dialogues of Sir Arthur Helps claim attention. In Germany, Wieland adopted this form for several important satirical works published between 1780 and 1799. In Spanish literature, the Dialogues of Valdes (1528) and those on Painting (1633) by Vincenzo Carducci, are celebrated. In Italian, collections of dialogues, on the model of;Plato, have been composed by Torquato Tasso (1 586), by Galileo (1632), by Galiani (1770), by Leopardi (1825), and by a host of lesser writers. In our own day, the French have returned to the original application of dialogue, and the inventions of "Gyp," of Henri Lavedan and of others, in which a mundane anecdote is wittily and maliciously told in conversation, would probably present a close analogy to the lost mimes of the early Sicilian poets, if we could meet with them. This kind of dialogue has been employed in English, and with conspicuous cleverness by Mr Anstey Guthrie, but it does not seem so easily appreciated by English as by French readers. (E.G.)