The 1957 Martin Buber-Carl Rogers Dialogue, as Dialogue

Cissna, Kenneth N.; Anderson, Rob

doi:10.1177/00221678940341003

Cited by 26 publications

(14 citation statements)

References 15 publications

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“…While dialogue has often been depicted as a special or even abnormal form of interaction (e.g., Anderson et al, ; Arnett, ; Bohm, ; Buber, ; Cissna & Anderson, , ; Isaacs, ; Jacques, ), it is noteworthy that Bakhtin ( [1979]) views any form of communication or even experience as inherently dialogic (Barge & Little, ). For the Russian scholar, “To be means to communicate dialogically.…”

Section: Bakhtin On Inner Dialogicity and Personificationmentioning

confidence: 99%

Polyphony, Ventriloquism, and Constitution: In Dialogue with Bakhtin

Cooren

Sandler

2014

Commun Theor

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Although Bakhtin's ideas have been mainly explored in the realm of literature and linguistics, his ideas of ventriloquation and polyphony could be mobilized to study the communicative constitution of reality, more generally. Using an excerpt taken from a conversation between two administrators, we show how various forms of ventriloquism actualize themselves in what they say and the way they say it. This kind of analysis amounts to questioning our traditional way of conceiving of discourse and interaction in general, especially in terms of their roles in the constitution of our world. The world we live in is a speaking and personified world; a world that comes to speak through us because people make it speak in a specific way. ]) was among the first to insist on the polyphonic and heteroglot nature of discourse. According to the Russian scholar, many voices can be heard and recognized in a text, whether via the various styles of expression used by an author, the choice of words, or the characters that talk in it. In a famous passage from "Discourse in the Novel," Bakhtin (1981 [1975]) writes:… there are no "neutral" words and forms-words and forms that can belong to "no one"; language has been completely taken over, shot through with intentions and accents. For any individual consciousness living in it, language is not an abstract system of normative forms but rather a concrete heteroglot conception of the world. All words have the "taste" of a profession, a genre, a tendency, a party, a particular work, a particular person, a generation, an age group, the day and hour. Each word tastes of the context and contexts in which it has lived its socially charged life; all words and forms are populated by intentions. Contextual overtones (generic, tendentious, individualistic) are inevitable in the word. (p. 293)Various figures (professions, generations, genres, etc.) can thus be heard and recognized in any utterance, text, or interaction, which means that these figures can also

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Section: Bakhtin On Inner Dialogicity and Personificationmentioning

confidence: 99%

Polyphony, Ventriloquism, and Constitution: In Dialogue with Bakhtin

Cooren

Sandler

2014

Commun Theor

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“…Maurice Friedman, perhaps the world's foremost Buber scholar, not only moderated the dialogue in 1957 but has maintained his interest in this event as a fundamental clue to Buber's thought, especially Buber's concern with the limits of mutuality. Friedman cites the dialogue often in his work, and other scholars have found that it illuminates concepts in education, psychotherapy, and interpersonal theory (Anderson, 1982;Arnett, 1981Arnett, , 1989Brace, 1992;Brink, 1987;Burstow, 1987;Cissna and Anderson, 1994;Friedman, 1994;Peterson, 1976;Roffey, 1980;Seckinger, 1976;Thome, 1992;Van Balen, 1990). Beyond the intellectual invitation of the dialogue, however, we came to appreciate the interchange as itself a lively conversation that engages scholars decades later.…”

Section: Research (Anti)methodsmentioning

confidence: 99%

Criticism and conversational texts: rhetorical bases of role, audience, and style in the Buber-Rogers dialogue

Anderson

Cissna

1996

Hum Stud

Self Cite

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This essay describes conversation as an ensemble accomplishment that can be illuminated by critics working with specific texts within a rhetorical framework. We first establish dialogue as the key concept for any criticism of conversation, specifying the rhetorical dimensions of interpersonal dialogue. Second, we show how template thinking is particularly dangerous for conversational critics and suggest a research (anti)method, based on a coauthorship, that provides a thoroughgoing dialogical access to texts. Finally, we exemplify dialogic criticism of a conversational text by analyzing the famous 1957 dialogue of philosopher Martin Buber and psychologist Carl Rogers.Scholars have long been interested in analyzing rhetorical texts. Critics have tmcovered authors' strategies, audience reactions, and persuasive effects when analyzing important orations and documents. In contrast, many studies of interaction have focused on less formal settings, analyzing the dynamic components of everyday talk. The former tradition has often been labeled rhetorical or literary criticism, while the study of informal speech events has developed as conversation analysis, discourse analysis, and ethnography. Each has made its own contributions to the human studies. We will argue here that a creative blend of these traditions is possible, and we illustrate this approach by studying a central text in philosophical anthropology, the 1957 dialogue between philosopher Martin Buber and psychologist Carl Rogers.Critical rhetorical studies ideally rely on what could be called emergent methodology in that the scholar, whatever his or her philosophical prefer-

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“…The reality is that almost any musicking process is also a creative collaboration, a subtle sharing of influence. In a public dialogue in the 1960s, the philosopher Martin Buber and psychotherapist Carl Rogers came to the formulation that therapeutic relationships are (like educational relationships) 'mutual but non-symmetrical' (see Cissna and Anderson 1994). In music therapy, the client has also to want things to be different and has to take their part and give their permission within a musical interventioneither in responding to a musical invitation, or in taking part in the challenge to aspects of themselves within the musical intervention.…”

Section: "You Turn Me I'll Turn You" -A Perspective From Gary Ansdell [Music Therapy]mentioning

confidence: 99%

Showing the way, or getting in the way? Discussing power, influence and intervention in contemporary musical-social practices

Ansdell

Brøske

Black

et al. 2020

International Journal of Community Music

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This article presents a broad discussion of power and influence within contemporary participatory music practices in relation to practices of intervention. The discussion is presented through the respective experience and professional perspectives of music therapy, music education and community music – each illustrated by current practice examples and their accompanying dilemmas; and covering both local and international projects. In a shared closing discussion, the four authors review the key question: whether professional influence and power in participatory music practices ‘shows the way’ or ‘gets in the way’. They conclude that intervention takes place on a continuum, in different ways, and to different degrees and levels. What is vital is to retain practical and ethical reflexivity on the dimensions of intervention as a practice that can offer both creative opportunities, but which can also be part of subtly oppressive power relationships.

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The 1957 Martin Buber-Carl Rogers Dialogue, as Dialogue

Cited by 26 publications

References 15 publications

Polyphony, Ventriloquism, and Constitution: In Dialogue with Bakhtin

Polyphony, Ventriloquism, and Constitution: In Dialogue with Bakhtin

Criticism and conversational texts: rhetorical bases of role, audience, and style in the Buber-Rogers dialogue

Showing the way, or getting in the way? Discussing power, influence and intervention in contemporary musical-social practices

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