It wouldn’t hurt even a person far from the literary field to know how to compose a dialogue. For students, schoolchildren studying the Russian language course, and aspiring authors, this skill is simply necessary. Another situation: your child asks for help with homework. Suppose he is tasked with composing the dialogue “A Book in Our Lives” or something similar. The semantic component of the task does not cause any difficulties. But there are serious doubts about the characters’ lines, and the lines themselves were somehow not built very consistently.
In such a case, you should know how to compose a dialogue in Russian on a given topic. In this short article we will try to analyze the concept of dialogue, the basic principles of its construction and features of punctuation.
What kind of form is this?
The concept of dialogue refers to the process of mutual communication. Replies during it are interspersed with response phrases with a constant change in the roles of listener and speaker. The communicative feature of dialogue is unity in expression, perception of thoughts and reaction to them, reflected in its structure. That is, the composition of the dialogue is the interconnected remarks of the interlocutors.
Without knowing how to write dialogue, a new writer is doomed to failure. After all, this literary form is one of the most common in works of art.
When dialogue is appropriate
Each time it occurs in a specific situation, when each of the participants is alternately a listener or a speaker. Each of the dialogue lines can be considered a speech act - an action that implies a certain result.
Its main features are determined by purposefulness, moderation and adherence to certain rules. The purposefulness of speech influence refers to the hidden or explicit goals of any of the participants in the dialogue. We can talk about a message, a question, advice, an order, a command or an apology.
To achieve their own goals, the interlocutors alternately implement certain intentions, the purpose of which is to induce the other side to specific actions of a verbal nature. Inviting information is expressed either directly in the form of an imperative verb, or like: “Could you?” etc.
How to compose a dialogue. General rules
- Messages are sent in parts. First, the listener is prepared to perceive information, then it is substantiated, and then it is directly presented (in the form, for example, of advice or a request). At the same time, it is necessary to comply with the necessary etiquette standards.
- The subject of the message should correspond to the main purpose of the conversation.
- The speech of the interlocutors must be unambiguous, understandable and consistent.
In case of non-compliance with these rules, a violation of mutual understanding occurs. An example would be the speech of one of the interlocutors, which is incomprehensible to the other (with a predominance of unknown terminology or unclear articulation).
How a conversation starts
At the beginning of the dialogue, a greeting is implied and quite often the question is asked about the possibility of the conversation itself: “Can I talk to you?”, “May I distract you?” etc. Next, most often there are questions about business, health and life in general (most often this refers to informal conversations). You should use these rules if, for example, you need to compose a dialogue between friends. After this, messages about the immediate purpose of the conversation usually arrive.
The topic is subject to further development. How to create a dialogue that will look logical and natural? Its structure involves the speaker's information being presented in portions, interspersed with remarks from the interlocutor expressing his reaction. At some point, the latter may seize the initiative in the conversation.
The end of the conversation consists of final phrases of a generalizing nature and, as a rule, is accompanied by so-called etiquette phrases, followed by farewell.
Ideally, each topic of dialogue should be developed before moving on to the next. If any of the interlocutors does not support the topic, this is a sign of a lack of interest in it or in trying to end the dialogue as a whole.
About the culture of speech
When lining up speech behavior Both interlocutors are required to have understanding, a certain ability to penetrate the thoughts and mood of the other, to grasp his motives. Without all this, successful communication is impossible. Dialogue techniques involve different communication models with a variety of means for expressing ideas, feelings and thoughts, as well as mastering tactical communication skills.
According to general rules, each question posed requires its own answer. An incentive response is expected in the form of a word or action. Narration involves response communication in the form of a counter-remark or focused attention.
The latter term refers to such an absence of speech when the listener, with the help of non-verbal signs (gestures, interjections, facial expressions), makes it clear that the speech is heard and understood.
Let's move on to writing
To compose a dialogue in writing, you need to know the basic rules for its proper construction. So, let's look at the basic rules by which you can compose a dialogue of 4 lines or more. Both the simplest and quite confusing with a complex plot.
Many authors use it in their works of art. Dialogue differs from direct speech in the absence of quotation marks and a new paragraph for each remark. If a remark is given in quotation marks, then most often it is implied that this is the hero’s thought. All this is written according to fairly strict rules, which are described below.
How to compose a dialogue in the Russian language in compliance with the laws of punctuation
When composing dialogue, it is very important to use punctuation marks correctly. But first, a little on the topic of terminology:
A line is a phrase spoken by the characters out loud or to themselves.
Sometimes you can do without the words of the author - usually when the conversation consists of replicas of only two people (for example, you have a task - to compose a dialogue with a friend). In this case, each statement is preceded by a dash and followed by a space. At the end of a phrase there is a period, an ellipsis, an exclamation point or a question mark.
When each remark is accompanied by the words of the author, the situation is a little more complicated: the period should be replaced with a comma (the remaining characters remain in their places), then a space, a dash and again a space should be added. After which the author’s words are given (exclusively in small letters).
More complicated options
Sometimes the author’s words can be placed before the replica. If at the very beginning of the dialogue they are not highlighted in a separate paragraph, a colon is placed after them, and the replica begins on a new line. In the same way, the next (response) replica should begin on a new line.
Composing a dialogue in Russian is not the easiest task. The most difficult case is when the author's words are placed inside a replica. This grammatical construction is most often accompanied by errors, especially among novice authors. This is due to a large number There are two main options: the sentence is broken by the words of the author, or these very words are placed between adjacent sentences.
In both cases, the beginning of the remark is exactly the same as in example with with the author’s words after it (a dash, a space, the remark itself, again a space, a dash, another space and the author’s words written in small letters). The further part is already different. If the author’s words are intended to be placed inside one whole sentence, a comma is required after these words and the further remark continues with a small letter after the dash. If it is decided to place the author’s words between two separate sentences, the first of them should end with a period. And after the obligatory dash, the next remark is written with a capital letter.
Other cases
Sometimes there is an option (rather rarely) when there are two attributive verbs in the author’s words. In the same way, they can be located before or after the replica, and everything together represents a single structure, written on a separate line. In this case, the second part of direct speech begins with a colon and a dash.
In works of literature you can sometimes find even more complex constructions, but we won’t go into them now.
Having mastered the basic rules of construction, you can similarly, for example, compose a language, etc.
A little about the content
Let's move on from punctuation directly to the content of the dialogues. The advice of experienced writers is to minimize both lines and the words of the author. All unnecessary descriptions and phrases that do not convey any meaning should be removed. useful information, as well as unnecessary embellishments (this applies not only to dialogue). Of course, the final choice remains with the author. It is important that at the same time he does not lose his sense of proportion.
Too long continuous dialogues are highly discouraged. This unnecessarily drags out the story. After all, it is understood that the characters are having a conversation in real time, and the plot of the work as a whole must develop much faster. If a lengthy dialogue is necessary, it should be diluted with a description of emotions characters and any related actions.
Phrases that do not carry information useful for the development of the plot can clog up any dialogue. It should sound as natural as possible. Use is highly discouraged complex sentences or those expressions that colloquial speech never meet (of course, unless the author's intention suggests otherwise).
How to check yourself
The easiest way to check the naturalness of the composed lines is by reading the dialogue out loud. All the extra long pieces along with pretentious words will inevitably hurt the ear. At the same time, it is much more difficult to check their presence with your eyes. This rule applies in the same way to any text, not just dialogue.
Another common mistake is the excess of attributive words or the monotony of their use. If possible, you should remove as many author’s comments as possible like: he said, she answered, etc. This should definitely be done in cases where it is already clear which of the characters the line belongs to.
Attributive verbs should not be repeated, their sameness hurts the ear. Sometimes you can replace them with phrases describing the actions of the characters followed by a remark. The Russian language has a huge number of synonyms for the verb said, colored in a variety of emotional shades.
Attribution should not be mixed with the main text. In the absence of an attributive (or replacing it) word, the dialogue turns into ordinary text and is formatted separately from the replica.
By adhering to the rules we have outlined, you can easily compose any dialogue.
- Dialogue - DIALOGUE (Greek dialogos - original meaning - conversation between two persons) - verbal exchange between two, three or more interlocutors. Literary encyclopedia
- DIALOGUE - DIALOGUE (Greek dialogos) - 1) a form of oral speech, a conversation between two or more persons; speech communication through exchange of remarks. As part of the literary text, it dominates drama and is present in epic works. Large encyclopedic dictionary
- dialogue - dialogue Form with emphasis on the last syllable of borrowings. from French dialogue or German Dialog; others, possibly, through Polish. dialog from Lat. dialogus from Greek. διάλογος. Etymological Dictionary of Max Vasmer
- DIALOGUE - DIALOGUE (Greek dialogos - conversation) - informative and existential interaction between communicating parties, through which understanding occurs. The latest philosophical dictionary
- Dialogue - (Greek) - actual conversation, conversation between two or more persons, also literary work in the form of a conversation. Philosophers of ancient and modern times and the fathers of the church especially readily used D. D. Socrates and Plato are remarkable. That's the name. Encyclopedic Dictionary of Brockhaus and Efron
- dialogue - DIALOGUE (from the Greek dialogos - conversation, conversation; literally - speech through) - linguistic communication between two or more persons. Dialogue as a literary genre and as a method of philosophizing has a long tradition, usually traced back to the school of Socrates. Encyclopedia of Epistemology and Philosophy of Science
- dialogue - noun, p., used. compare often (not) what? dialogue, why? dialogue, (see) what? dialogue, what? dialogue, about what? about dialogue; pl. What? dialogues, (no) what? dialogues, what? dialogues, (see) what? dialogues, what? dialogues, about what? about dialogues... Dictionary Dmitrieva
- dialogue - Dialogue/. Morphemic-spelling dictionary
- Dialogue - DIALOGUE. In a broad sense, any interview is called dialogue; in particular, the exchange of thoughts (“Dialogue” by Plato). Dramatic dialogue - the exchange of dramatic remarks - has a special content. The word in drama is effective. Dictionary of literary terms
- dialogue - spelling dialogue, -a Lopatin's spelling dictionary
- Dialogue - Musical (from the Greek dialogos - conversation, conversation) - a type of musical presentation that reproduces the features of spoken dialogue. 1) Vocal dialogue arose in the process of music. embodiment of texts containing elements of colloquial... Music Encyclopedia
- dialogue - DIALOGUE, a, m. 1. Conversation between two persons, exchange of remarks. Scenic building 2. trans. Negotiations, contacts between the two countries, parties. Political village. Constructive village. | adj. dialogical, aya, oe (to 1 meaning) and dialogical, aya, oe (to 1 meaning; special). Ozhegov's Explanatory Dictionary
- Dialogue - (from the Greek diálogos - conversation, conversation) dialogical speech, 1) a type of speech characterized by situationality (depending on the situation of the conversation), contextuality (dependence on previous statements)... Big Soviet encyclopedia
- dialogue - (Greek dialogos - conversation). A form of speech in which there is a direct exchange of statements between two or more persons. Rosenthal Dictionary of Linguistic Terms
- dialogue - A form of speech that is characterized by a change in the utterances of two or more speakers and a direct connection between the utterances and the situation. Explanatory Dictionary of Translation Studies / L.L. Nelyubin. - 3rd ed., revised. - M.: Flinta: Science, 2003 Explanatory translation dictionary
- dialogue - Conversation Wed. And will you tell me your entire dialogue? and describe what kind of face this scalded cat will make? K.M. Stanyukovich. Frank. 1, 19. Wed. Dialogue. Wed. διάλογος (δια - times, λόγος - word) - conversation. Mikhelson's Phraseological Dictionary
- dialogue - see >> conversation Abramov's dictionary of synonyms
- dialogue - noun, number of synonyms: 9 audio dialogue 1 conversation 30 negotiations 8 radio dialogue 1 conversation 53 interview 7 meeting 25 television dialogue 1 faedon 1 Dictionary of Russian synonyms
- dialogue - And dialogue, -a, m. Conversation between two or more persons. [Tagilsky] left ---. A minute-long dialogue in the hallway somewhat calmed Samghin’s anxiety. M. Gorky, The Life of Klim Samgin. Small academic dictionary
- dialogue - DIALOG -a; m. [Greek dialogos] 1. A conversation between two or more persons. Lively d. It took place, started the d. News d. D. broke off mid-sentence. D. between ambassadors, rivals. Kuznetsov's Explanatory Dictionary
- dialogue - Dialogue, dialogues, dialogue, dialogues, dialogue, dialogues, dialogue, dialogues, dialogue, dialogues, dialogue, dialogues Zaliznyak's Grammar Dictionary
- Dialogue - A form of speech, a conversation, in which the spirit of the whole arises and makes its way through the differences in remarks. D. can be a form of poetic development. Dictionary of cultural studies
- dialogue - DIAL'OG, dialogue, male. (Greek: dialogos). 1. A conversation between two or more persons. | A part of a literary work consisting of conversations. The actors carried out the final dialogue well. 2. A literary work written in the form of a conversation (lit.). Dialogues of Plato. Ushakov's Explanatory Dictionary
- dialogue - Dialogue, m. [Greek. dialogos]. 1. A conversation between two or more persons. || A part of a literary work consisting of conversations. The actors carried out the final dialogue well. 2. A literary work written in the form of a conversation (lit.). Dialogues of Plato. Big dictionary foreign words
- - 1) A form of oral speech, a conversation between two or more persons; speech communication through the exchange of words, phrases according to k.-l. topic; 2) negotiations, free exchange of opinions; 3) a literary work or part thereof, written in the form of a conversation... Dictionary of linguistic terms Zherebilo
- dialogue - DIALOGUE a, m. dialogue<�лат. dialogus <�гр. dialogos. 1. Литературный жанр в форме беседы двух или более персонажей. Сл. 18. Феодорит в первом диалозе.. сия сказует. Соб. 42. // Сл. 18 6 124. Dictionary of Gallicisms of the Russian language
Wandering around the Internet, I discovered a wonderful article.
The original source is here https://www.avtoram.com/kak_pisat_dialogi/
Main problem
Dialogue is one of the most problematic areas in aspiring writers' manuscripts.
The most common type of error is redundancy: unnecessary attribution, unnecessary cues, unnecessary embellishments.
In dialogues, it is especially important to observe the principle “brevity is the sister of talent”: a few extra words can make the characters’ conversation sluggish or ridiculously pretentious.
Prolongation
Continuous dialogue should not be too long, otherwise it slows down the dynamics of the work. The conversation of the characters implies a real passage of time, while in general the plot develops much faster. If a lengthy dialogue is still necessary, then it should be diluted - for example, with a description of the actions, emotions of the hero, etc.
Do not litter the dialogue with phrases that do not provide useful information.
The girls said goodbye:
- Goodbye!
- Best wishes!
- I was very glad to see you!
- Come to visit us!
- We will definitely come. We really enjoyed your stay last time.
- Well, really, it’s not worth it. Well, goodbye!
We could limit ourselves to one phrase: The girls said goodbye.
A similar problem is repetitions of the same thought:
“Is that really what she said: go away?”
- Yes exactly.
- I can not believe.
- I swear! I gave you everything word for word. So she said: go away.
- I don't believe. You must have mixed something up.
Of course, there may be exceptions to this rule, but you should still remember that empty dialogue is boring, and the reader misses boring things.
Unnaturalness
Dialogue should sound natural. You should not use complex five-line sentences or expressions in conversation that are not used in real speech.
— You need to regularly water the sprouts, because otherwise they will have nowhere to get the moisture that is so necessary for their nutrition and full development.
This is not the way to say it. It's better to rephrase the sentence:
— Don’t forget to water the sprouts, otherwise they will dry out.
An exception to this rule: the hero deliberately tries to speak like a book, and it is clear that this is not a stylistic error, but the author’s idea.
- Thousand devils! - the office manager exclaimed, turning off the computer. - Oh, I'll be damned if I don't take revenge on these scoundrels!
To check if dialogue sounds natural, read it out loud. Extra words will hurt your ear.
Inconsistency of dialogue with the situation or character of the characters
In the novels of newcomers, there are often scenes in which villains, in the heat of battle, talk with heroes about Good and Evil - in long sentences with adverbial phrases.
If you think this is normal, try beating a pillow for five minutes while retelling the story about Kolobok.
Did you get something coherent? Taking off my hat.
A runner immediately after a marathon cannot give lengthy interviews, a fireman in a burning building will not ask: “Please, Vasily Ivanovich, give me a fire hose!”
Overkill with attribution
Ivan looked into Masha’s face.
“What a fine fellow you are,” he said.
“If it weren’t for you, I wouldn’t have succeeded,” she responded.
“Come on, it’s not worth it,” said Ivan.
We remove “he said”, “she responded”, “Ivan said” - and the meaning is not lost. The reader is absolutely clear who said what.
Extra adverbs and other clarifications
- This is unfair! — the girl sobbed tearfully.
In this case, the adverb duplicates the meaning of the verb. The word “sobbed” is quite enough.
Stamps look even worse:
- Now I will deal with you! - The Emperor grinned ominously.
- I beg you, let me go! — the girl screamed heartbreakingly, wringing her hands.
Same type attribution
“Don’t forget to buy some sushi,” said the grandmother, counting out the money to her.
- And I’ll have some chocolates! - Dad said from behind the door.
You should not repeat the same attributive verbs over and over again, otherwise the reader’s attention will be fixed on these words. If it’s difficult for you to find an attributive verb, insert a phrase that will describe the hero’s action, and then his replica.
“I went to the store,” said Masha.
Grandmother counted out the money to her.
— Don’t forget to buy some sushi.
- And I’ll have some chocolates! - Dad’s voice was heard from behind the door.
Speaking verbs and shortcuts
If possible, try not to supply the characters’ lines with overly telling attributive verbs. Emotions should be conveyed by the essence of the scene, and not by pasted labels.
An example of such “steroid-pumped” attributive verbs is given by Stephen King in the manual “How to Write Books”:
- Drop the gun, Utterson! - Jekyll rasped.
- Kiss me, kiss me! Shayna gasped.
- You are teasing me! - Bill pulled back.
You also shouldn’t constantly remind the reader: this character is a scoundrel, but this one is a handsome prince. When scoundrels “grin gloatingly” and princes “raise their eyebrows contemptuously” - this is a sure sign that the author wrote “arrogantly ignoring common sense.” The hero must be characterized by his words and actions.
Long dialogue of short sentences
- Where are you going?
- To the village.
- And what's in there?
- Nothing.
- What for?
- Tired of it.
- Why?
- You will not understand.
Such dialogue turns off imaginative thinking. The reader begins to see not a mental picture, but letters. If a monosyllabic exchange of words is absolutely necessary for the plot, then it must be diluted with descriptions.
Accent and speech distortion
You need to be very careful with the transfer of accent and speech distortions. If the reader even for a moment has difficulty reading phrases like “evolution is funny,” then it is better to simply mention that the hero is burring.
Using a name in dialogue
- Hello, Masha!
- Hello, Petya! I'm so glad to see you!
What is wrong? During a conversation, we rarely call people by name, especially if there is no one nearby. Therefore, this dialogue sounds false.
Retelling other people's words
— I met Masha. She said: “Petya, why are you coming to visit me?” “Because I don’t have time,” I answered.
Try to avoid direct speech in direct speech or convey other people's words as they sound in everyday conversation.
- I met Masha today. She asked where I had gone, and I lied that I didn’t have time.
Retelling what the characters already know
“You know, a couple of years ago, orcs attacked our northern borders and burned five cities. And then King Sigismund the Fifteenth allocated three hundred thousand warriors on battle dragons...
- Yes, it was not for nothing that this battle entered the chronicles. Remember how they captured the Magic Stone of Omniscience?
- Of course I remember.
Incorrect use of foreign expressions
Foreigners in novels by newcomers often speak their native language with wild errors. If you are not sure how to spell a phrase, consult a professional translator or native speaker.
Too much slang and obscenities
If your hero “talks” exclusively about the hair dryer, the reader may not “catch up” with him.
Swearing in literature is permissible only in small doses and only appropriately. Exceptions are “avant-garde” novels published in a circulation of 500 copies.
We remember that no one will judge us for the absence of profanity, but it is quite possible to confuse readers due to the abundance of obscenities.
What properties should a well-written dialogue have?
1. It must be absolutely necessary, that is, without it it is impossible to develop the plot or reveal the personality of a particular character. Example: conversation between Chichikov and Nozdrev (N. Gogol. “Dead Souls”)
2. Each of the heroes must speak their own language. He needs to be given his favorite words, think in advance about how he will construct phrases, what his vocabulary is, what his level of literacy is, etc. This technique will allow you not only to convey the information necessary for the plot, but also to create a reliable image.
- Nymph, put her in a swing, does she really give the goods? - the undertaker said vaguely. - How can she satisfy the buyer? The coffin - it takes a lot of wood...
- What? - asked Ippolit Matveevich.
- Yes, here is “Nymph”... Three families of them live from one merchant. Already their material is not the same, and the finish is worse, and the brush is liquid, put it in a swing. And I am an old company. Founded in one thousand nine hundred and seven. My coffin is a cucumber, selected, amateur...
I. Ilf and E. Petrov. "The twelve Chairs"
It should be remembered that the heroes cannot behave the same way with everyone and speak in the same manner with both the queen and the longshoreman.
3. Characters should not talk in a vacuum. Create a living world around them - with smells, sounds, furnishings, weather, lighting, etc.
Evening at the end of June. The samovar has not yet been removed from the table on the terrace. The housewife peels berries for jam. Her husband’s friend, who came to visit the dacha for a few days, smokes and looks at her sleek round arms, bare to the elbows. (A connoisseur and collector of ancient Russian icons, an elegant and dry-built man with a small trimmed mustache, with a lively look, dressed as if for tennis.) He looks and says:
- Kuma, can I kiss your hand? I can't watch calmly.
Hands are soaked in juice,” he offers his shiny elbow. Lightly touching his lips, he says hesitantly:
- Kuma...
- What, godfather?
- You know what the story is: one man’s heart left his hands and he said to his mind: goodbye!
- How did this “heart leave your hands”?
- This is from Saadi, godfather. There was such a Persian poet.
I. Bunin. "Kuma"
4. Let the characters not only speak, but also gesticulate, move, grimace, etc.
- Oh no no no! - exclaimed the artist, - did they really think that these were real pieces of paper? I don't think they did it consciously.
The barman looked around somehow wryly and sadly, but said nothing.
- Are they scammers? — the magician asked the guest anxiously, “are there really scammers among Muscovites?”
In response, the barman smiled so bitterly that all doubts disappeared: yes, there are scammers among Muscovites.
M. Bulgakov. "Master and Margarita"
5. Make sure that the characters’ speech corresponds to the place, time, mood and individual characteristics of the characters. If a person wakes up with a hangover, he is unlikely to be able to joke with girls; If a sledgehammer fell on a lumberjack prisoner’s leg, he would not exclaim: “Oh, how painful!”
6. The length of sentences in dialogues should be correlated with the speed of development of events. In crisis situations, a person speaks briefly; at home by the fireplace he can afford flowery phrases and poetic comparisons.
Dialogue is conversation between two or more persons in a drama or prose work. Or a philosophical and journalistic genre that involves an interview or argument between two or more persons; was developed in antiquity: the philosophical dialogues of Plato, in Lucian (“Conversations of the Gods”, “Conversations of Hetaeras”, “Conversations in the Kingdom of the Dead”). Distributed in the 17th and 18th centuries in France: “Letters to a Provincial” by B. Pascal, “Dialogues of the Ancient and New Dead” by F. Fenelon, “Ramo’s Nephew” by D. Diderot. As a genre, dialogue usually does not have an accompanying epic text, being closer in this regard to 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:
- compositional speech form of life utterance (conversation between two or more persons);
- all verbal communication;
- speech genre (everyday dialogue, pedagogical, educational);
- secondary genre - philosophical, rhetorical, artistic dialogue;
- a constitutive feature of a certain type of novel (polyphonic);
- vital philosophical and aesthetic position;
- the formative principle of the spirit, the incomplete opposite of which is monologue.
The spiritual sphere of meaning is its own locus of dialogical relations, which “are completely impossible without logical and subject-semantic relations,” but for this they “must be embodied, that is, enter another sphere of being: become a word, that is, a statement, and receive an author, then there is the creator of a given statement, whose position it expresses.” This makes M.M. Bakhtin’s interpretation of dialogue and dialectics clear. Dialectics is a reifying relationship transferred to the realm of meaning, and dialogue is a personifying relationship in this spiritual realm. According to Bakhtin, dialogical relations are not logical, but personological. Ignoring this provision most of all contributed 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 relationships - man and machine, different logics or linguistic units, even neurophysiological processes - as dialogical, rather than subject-subjective. Personality, personology, subjectivity are the second (after “meaning-spirit”) differential features of dialogical relationships. The participants in these relationships, 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 above the participants in the dialogue (partners).” For Bakhtin, the third participant in the dialogue event is both the empirical listener-reader and, at the same time, God.
The Bakhtinian approach, while preserving the status of a real life relationship for dialogue, 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”. Dialogue understood in this way covers a wide sphere of relations and has different degrees of expression. To determine the lower limit of dialogic 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 comedy, where there is real dialogical contact, but there is no semantic contact between the replicas (or imaginary contact) - here “the point of view of a third person in the dialogue (not participating in the dialogue, but the one who understands it. Understanding of an entire utterance is always dialogical." The lower level also includes "unintentional dialogicity" that arises between entire utterances and texts, "remote from each other in time and space, knowing nothing about each other" - "if between them there is at least some semantic convergence." In this case, as with the zero degree, the role of explicator of dialogical relations is played by the "third", the understander. In another case, to identify a "special form of unintentional dialogicity" Bakhtin uses the formula "dialogical shade".
The upper limit of dialogicity is the speaker's attitude towards his own word. They become possible when the word acquires double intention - it turns out to be directed not only at an object, but also “at someone else’s word” about this object. Bakhtin calls such a statement and word two-voiced. Only when the author turns to a two-voiced word does the compositional speech form of dialogue cease to be an external form and become internally dialogical, and the dialogue itself becomes a fact of poetics. The range of dialogical relationships realized by the two-voiced word does not boil down to confrontation and struggle, but presupposes both disagreement and mutual appeal of independent voices, as well as agreement (“rejoicing”, “co-loving”). The dialogic word and the dialogical author's position were found in the polyphonic novel of Dostoevsky to their highest degree of development, but a certain degree of dialogicity, according to Bakhtin, is a necessary condition for authorship: “An artist is one who knows how to be extra-vitally active, not only involved in life and understanding it from within, but also loving it from the outside - where it does not exist for itself, where it is turned outside itself and needs extra-local and non-semantic activity. The divinity of the artist lies in his participation in the highest externality. But this non-existence with the event of other people’s lives and the world of this life is, of course, a special and justified type of participation in the event of existence.” Here we are not talking about abstraction from the event, not about one-sided (“monological”) extra-location, but about a special kind of (“dialogical”) presence of the author simultaneously both inside the event and outside it, about his immanence and at the same time transcendence to the event of existence.
The word dialogue comes from Greek dialogos, which means conversation.
- (Greek dialogos original meaning conversation between two persons) verbal exchange between two, three or more interlocutors. The possibility that such a comparison opens up in a conversation between several persons has long compelled writers... ... Literary encyclopedia
dialogue- a, m. dialogue lat. dialogus gr. dialogos. 1. Literary genre in the form of a conversation between two or more characters. Sl. 18. Theodorite in the first dialosis... this says. Sob. 42. // Sl. 18 6 124. A dialogue in French is being sent to you, which ... Historical Dictionary of Gallicisms of the Russian Language
A form of speech, a conversation, in which the spirit of the whole arises and makes its way through the differences of replicas. D. can be a form of poetic development. concept (especially in drama, where it is opposed to monologue and mass stage); form of education: then... ... Encyclopedia of Cultural Studies
- (French dialogue, from Greek dialogos). A conversation between two or more persons: a form of dramatization. works. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. DIALOGUE, a conversation between two parties, two persons. Also… … Dictionary of foreign words of the Russian language
Dialogue- DIALOGUE. In a broad sense, any interview is called dialogue; in particular the exchange of thoughts (Plato's Dialogue). Dramatic dialogue - the exchange of dramatic remarks has a special content. The word in drama is effective. 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 Year of foundation ... Wikipedia
dialogue- (from the Greek dialogos) alternating exchange of remarks (in a broad sense, a response in the form of an action, gesture, silence is also considered a response) of two or more people. In psychology, D.'s research related to the analysis of social mechanisms of the psyche began in the twentieth century... Great psychological encyclopedia
Cm … Synonym dictionary
Dialogue- Dialogue ♦ Dialogue A conversation between two or more interlocutors concerned with the search for the same truth. Thus, dialogue is a type of conversation marked by a desire for the universal, and not the individual (as opposed to confession) or the particular (as in... ... Sponville's Philosophical Dictionary
See Philosophical Dialogue. Philosophical encyclopedic dictionary. M.: Soviet Encyclopedia. Ch. editor: 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
