Develops a logical analysis of dialogue in which two or more parties attempt to advance their own interests. It includes a classification of the major types of dialogues and a discussion of several important informal fallacies.

The qualities that distinguished him in any discussion are on clear display in this volume, which features him in dialogue with his predecessors and peers, his ...

The field of psychiatry has long struggled with developing models of practice; most underemphasize the interpersonal aspects of clinical practice. This essay is unique in putting intersubjectivity front and centre. It is an attempt to provide a clinical method to re-establish the fragile dialogue of the soul with oneself and with others.

This 1995 book takes as its starting point Plato's incorporation of specific genres of poetry and rhetoric into his dialogues. The author argues that Plato's 'dialogues' with traditional genres are part and parcel of his effort to define 'philosophy'. Before Plato, 'philosophy' designated 'intellectual cultivation' in the broadest sense. When Plato appropriated the term for his own intellectual project, he created a new and specialised discipline. In order to define and legitimise 'philosophy', Plato had to match it against genres of (...) discourse that had authority and currency in democratic Athens. By incorporating the text or discourse of another genre, Plato 'defines' his new brand of wisdom in opposition to traditional modes of thinking and speaking. By targeting individual genres of discourse Plato marks the boundaries of 'philosophy' as a discursive and as a social practice. (shrink)

In this paper we explore how compositional semantics, discourse structure, and the cognitive states of participants all contribute to pragmatic constraints on answers to questions in dialogue. We synthesise formal semantic theories on questions and answers with techniques for discourse interpretation familiar from computational linguistics, and show how this provides richer constraints on responses in dialogue than either component can achieve alone.

Values in dialogue offers a practical and theoretical model for ethics in care, that has grown from experience and research. The foundation of this ethical model is laid in the care relationship and in relational personalism. It consists of three pillars: values, dialogue, and attitudes. On this basis, a practical model for ethical reflection is developed. The aim is to empower professionals in their own ethical reflection and responsibility in concrete care situations. The model is applied on several (...) topics, such as collaboration between professionals, collaboration with clients and significant others, restriction of freedom and use of coercion, and exchange of information and confidentiality. 'Values in dialogue' is written for care professionals in their daily practice and in ethics commitees, but also for teachers and students in ethics courses. It focuses in particular on mental healthcare, support for people with mental disabilities, and care for elderly persons. (shrink)

Traditional Plato scholarship, in the English-speaking world, has assumed that Platonic dialogues are merely collections of arguments. Inevitably, the question arises: If Plato wanted to present collections of arguments, why did he write dialogues instead of treatises? Concerned about this question, some scholars have been experimenting with other, more contextualized ways of reading the dialogues. This anthology is among the first to present these new approaches as pursued by a variety of scholars. As such, it offers new perspectives on Plato (...) as well as a suggestive view of Plato scholarship as something of a laboratory for historians of philosophy generally. The essays gathered here each examine vital aspects of Plato’s many methods, considering his dialogues in relation to Thucydides and Homer, narrative strategies and medical practice, images and metaphors. They offer surprising new research into such much-studied works as _The Republic_ as well as revealing views of lesser-known dialogues like the _Cratylus_ and _Philebus_. With reference to thinkers such as Heidegger, Gadamer, and Sartre, the authors place the Platonic dialogues in an illuminating historical context. Together, their essays should reinvigorate the scholarly examination of the way Plato’s dialogues “work”—and should prompt a reconsideration of how the form of Plato’s philosophical writing bears on the Platonic conception of philosophy. (shrink)

Dialogue is a recurring and significant component of Indian religious and philosophical literature. Whether it be as a narrative account of a conversation between characters within a text, as an implied response or provocation towards an interlocutor outside the text, or as a hermeneutical lens through which commentators and modern audiences can engage with an ancient text, dialogue features prominently in many of the most foundational sources from classical India. Despite its ubiquity, there are very few studies that (...) explore this important facet of Indian texts. This book redresses this imbalance by undertaking a close textual analysis of a range of religious and philosophical literature to highlight the many uses and functions of dialogue in the sources themselves and in subsequent interpretations. Using the themes of encounter, transformation and interpretation - all of which emerged from face-to-face discussions between the contributors of this volume - each chapter explores dialogue in its own context, thereby demonstrating the variety and pervasiveness of dialogue in different genres of the textual tradition. This is a rich and detailed study that offers a fresh and timely perspective on many of the most well-known and influential sources from classical India. As such, it will be of great use to scholars of religious studies, Asian studies, comparative literature and literary theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Genres in Dialogue: Plato and the Construct of PhilosophyDavid EngelAndrea Wilson Nightingale. Genres in Dialogue: Plato and the Construct of Philosophy. Cambridge: Cambridge University Press, 1995. xiv + 222 pp. Cloth, $57.95.The old saw "Everybody's a comedian" has its counterpart in contemporary academia: "Everybody's a philosopher." Biologists. Psychologists. Linguists. Physicists. Anthropologists. Historians. Even jurists. Many scholars of comparative literature, English, and history can be heard describing (...) what they do, not as literary criticism or history, but as "philosophy." One may even wonder whether we need philosophy departments anymore. Philosophy's private domain has shrunk from what it was under Aristotle (just about every subject short of wagon repair) to its present emaciated condition: it can claim almost nothing for itself alone. The other disciplines have encroached upon it bit by bit. This book is a timely contribution to an important current issue: what is philosophy, [End Page 316] and what does it have to offer? Nightingale argues that Plato faced similar questions. Rhetoricians, tragedians, and comedians all peddled what they had to say as wise (sophon), while dismissing other claims and pursuits as foolishness or worse. Against them and their respective discourses Plato proposed a new candidate: philosophia.Prior to Plato, philosophia meant just "intellectual cultivation." According to Nightingale, it was Plato who made it into a full-blown discipline--or, as she says, invented the discourse. As a way of privileging philosophia (in Plato's new sense of the word) above rival discourses, he parodied them. Nightingale's claims about the parody of other genres and Plato's privileging of philosophia are novel, insightful, and very persuasive. Perhaps it is overstatement to credit Plato with inventing philosophy, but that hardly diminishes the overall impression of this fine book's main arguments.Among Plato's contemporaries, the foremost challenger for the title "practitioner (and teacher) of sophia" was Isocrates. Nightingale uses his Antidosis to show that (1) Isocrates wanted to claim philosophia for himself, and (2) his version of philosophia was significantly different from Plato's. She concludes that the term was still a subject of genuine contention: its meaning mattered to both Plato and Isocrates. As Isocrates advocates rhetorike as philosophia, Plato argues that philosophy is both different from rhetoric and better than rhetoric. Rhetoric aims, ultimately, at public utility as the public perceives that utility, and rhetoric's value is gauged only by the political influence of those who practice it. Plato rejects that entire value system. At bottom it is also the value system of the other genres which, as Nightingale persuasively shows, Plato also parodies.Plato's "parody" (Nightingale's use of the word is broad, but unexceptionable) is "a device for defining and privileging his own pursuits" (59). Moving from rhetoric to tragedy, she considers Gorgias' echoes of Euripides' Antiope. Plato's parody of tragedy subtly criticizes tragedy qua discourse. The tragedian is "ignorant of truth... imitating appearances... gratifying the multitude... fostering the inferior part of the soul," that is, he is precisely what the philosopher is not (67). Socrates and Callicles evoke Euripidean characters: respectively, Amphion (who advocates a private life devoted to the liberal arts) and Zethus (who argues for a life of political activity) (69-70). Plato's unambiguous allusions to Antiope juxtapose not only Socrates and Callicles (and, through them, two irreconcilable views of what philosophy is) but also the tragic hero and the philosophical one (72-73). Plato's "life of the mind for its own sake" orientation wins, ultimately, in both comparisons. Furthermore, just as Amphion's arguments fail to persuade Zethus in Antiope but are eventually vindicated by Hermes' appearance at the play's conclusion, so too Socrates' arguments fail to convince Callicles, and Gorgias' concluding underworld myth parallels Antiope's deus ex machina: affirmation that the view which had been rejected (Amphion's and Socrates') was right, after all (87-88). [End Page 317]Nightingale then examines encomium. Publicly performed epitaphioi and their fictive counterparts (e.g., Menexenus) influenced one another, and the techniques of the encomium, although salient in that genre, occurred elsewhere, including deliberative and forensic situations. In her view, Plato's concern is not narrowly with encomium... (shrink)

Book Reviews Andrea Wilson Nightingale, Genres in Dialogue: Plato and the Construct of Philosophy. New York: Cambridge University Press, 1995. Pp. xiv + ~a~. Cloth, $49.95. This is an important and timely book. Nightingale argues that notwithstanding Socra- tes' remarks about dialectic as the philosophical mode of discourse, Plato uses tradi- tional genres in constructing philosophy. Key to her argument are two notions. The first is that prior to Plato, 'philosophy' referred to intellectual cultivation in the broad sense and (...) consequendy, poets, sophists, playwrights, and orators had claim to the title "philosopher." The second is that "genres of discourse" be understood as referring not only to artistic forms or styles, but also to "forms of thought" that represent and conceptualize some aspects of experience better than others; therefore, "an encounter between two genres within a single text is itself a kind of dialogue" . Nightingale.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:In Dialogue with the Mahābhārata by Brian BlackKrishna Mani Pathak (bio)In Dialogue with the Mahābhārata. By Brian Black. New York: Routledge, 2021. Pp. xii + 2158. Paperback £38.99, isbn 978-0-367-43600-1. Brian Black's In Dialogue with the Mahābhārata is a brilliant book that exhibits three distinct features which can certainly help an inquiring mind understand not only the structure and nature of the text of the (...) Mahābhārata but also the meanings contained in it, alongside aspects of Hindu historiography. It investigates the text through literary, philosophical, and social perspectives that Black argues emerge in the dialogues over strī-dharma, puruṣa-dharma, and the social identity and status of women (see for example, pp. 117, 124, 130, 140). The work's literary character can be seen in Black's analysis of the text and its epical narratives. In this book, the story of the Mahābhārata is presented by Black as a web of narratives wherein every verbal encounter and dialogue among all the participating interlocutors refers to a specific meaning and (deterministic) role played by these divine and terrestrial characters as interlocutors: "All the main human characters are incarnations and/or descendants of divine figures…and [experience] intense emotional reactions to their own situations and the actions of others" (p. 5). For instance, most male and female characters in the narratives of the Mahābhārata, including Vyāsa (the author), who is said to have "the power of omniscience," and Kṛṣṇa, who is God Himself, help the readers extrapolate how the entire series of trailing events in the Mahābhārata is destined to happen. This is what Black highlights when he writes that "as author of the narrative, [Vyāsa's] appearances within it often move the story along, as well as offer lenses through which to understand its cosmic implications" and that he "draws on his omniscience to provide an explanation of the marriage that transcends the knowledge of ordinary humans" (p. 61). Further, Black emphasizes destiny's (active) role when he writes that "the story of Draupadī's previous birth invites reading the Mahābhārata as a karmic narrative in which the actions and decisions of characters create the conditions for subsequent events in the central story" (p. 76). Perhaps for this reason, Black highlights his methodological approach to the text and its literary character in the beginning of the book to explain that the Mahābhārata is more like a complex narrative than any other Hindu legend or mythology and is difficult to understand without contextualizing its dialogues and [End Page 1] their historical connections. Besides, the temporal aspect of the conversations between the characters is another literary condition to connect various sub-narratives to the main story. Black uses the term "dialogue" in three different ways while examining the text of the Mahābhārata, and this is how he proposes the text should be explored by the inquisitive mind:I understand the term "dialogue" in three main ways: (1) as verbal encounter: the conversations, discussions, and debates between characters within the text; (2) as intra-textuality: the relationship between different dialogues in different sections of the text; and (3) as hermeneutics: my interpretive approach to the text. In most of the remainder of this Introduction, I will prepare the way for the subsequent chapters by discussing each of these three understandings of dialogue and how they are related to the book as a whole. (p. 4)Black observes that most scholars, both from the East and the West, have tried to understand the text of the Mahābhārata and its embedded stories from different perspectives, taking them merely as dialogues or a product of dialogical relations, and hardly anyone has explored the most fundamental aspect of dialogue in the Mahābhārata, i.e., "the verbal exchanges between characters" that he takes as the book's starting point (p. 1). Black's literary perspective has made the book an interesting and illuminating read, despite the fact that most of the characters of the Mahābhārata have either a divine origin... (shrink)

The work of Michèle Le Dœuff creatively disrupts established notions of what philosophy might be. Far from being a discipline about the leader and the disciple, a hierarchy of knowledge and paternalism, Le Dœuff proposes a philosophy of dialogue and friendship. The conversations in this book explore how this philosophy can be enacted and explored, and show how openness and generosity can be the starting point of truly rigorous thinking. Introduced and curated by the late philosopher, Pamela Sue Anderson, (...) In Dialogue with Michèle Le Dœuff explores themes like contemporary feminism, joy in philosophy, memory, the significance of friendship to thinking and a key Le Dœuffian concept, the imaginary. Le Dœuff's interlocutors, including Penelope Deutscher, Elizabeth Fallaize and Meenda Dhanda, are some of the most significant thinkers in the fields of feminism and continental thought and provide insights and ways into considering philosophy as a profoundly dialogical exercise. (shrink)

We focus in this paper on the potential uses of Ludics, a logical framework based on recent developments in proof theory, for modeling natural language dialogues. The aim is to be able to grasp and to account for some aspects of incoherence in discourses. Among the properties relevant for studying dialogues, two features of Ludics are of interest for our purpose: the duality of viewpoints of two interlocutors as well as the possibility of ruptures. We illustrate first the potential usefulness (...) of such a model for accounting and analyzing incoherence in dialogues due to cultural gap. We then focus on dialogues with schizophrenic individuals to try to answer the following questions: to what extent does incoherence play a role in schizophrenic discourse? And, would a more precise characterization of “non-standard” rationality help explain the range of potential complications of schizophrenia? (shrink)

In this paper, I will be arguing that the most recent incarnation of AI research -- that of embodied robotics and situated cognition -- demonstrates a strict and remarkable parallel with the work of mid-century French phenomenologist Maurice Merleau-Ponty, and that through this parallel we see demonstration and confirmation of ideas about minds, bodies, and what Merleau-Ponty often called a 'dialogue with the world'. Seeing these theories confirmed in AI research will ultimately provide us with evidence that suggests our (...) traditional understanding of minds as these isolated entities shuffling symbolic representations around in the absence of interaction is simply absurd, and in fact dialogue itself comes first -- dialogue with others and dialogue with the world itself. (shrink)

This book offers innovative historical scholarship on Feyerabend’s take on topics such as realism, empiricism, pluralism, materialism, and incommensurability. In addition to discussing certain debates in the philosophy of physics, it also considers the ways in which Feyerabend’s thought can contribute to contemporary debates in science and public policy. It does so by including questions about the nature of scientific methodology, the role of science in society, the public understanding of science, scientism, and the role of expertise in public policy. (...) The chapters provide readers with a comprehensive overview of the topics that Feyerabend engaged with throughout his career, showing both the breadth and the depth of his thought. Though of great value to academics in philosophy of science, it is also accessible and appealing to non-academic audiences with a general interest in science. (shrink)

In Enthymemes and Topoi in Dialogue, Ellen Breitholtz presents a novel and precise account of reasoning from an interactional perspective. The account draws on the concepts of enthymemes and topoi, originating in Aristotelian rhetoric and dialectic, and integrates these in a formal dialogue semantic account using TTR, a type theory with records. Argumentation analysis and formal approaches to reasoning often focus the logical validity of arguments on inferences made in discourse from a god's-eye perspective. In contrast, Breitholtz's account (...) emphasises the individual perspectives of interlocutors and the function and acceptability of their reasoning in context. This provides an analysis of interactions where interlocutors have access to different topoi and therefore make different inferences. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Elvira Panaiotidi, “The Nature of Paradigms and Paradigm Shifts in Music Education”Wenyi W. KurkulAt the beginning, I would like to congratulate Elvira Panaiotidi on her interesting paper and on her proposal to move beyond the long-running debates that began in the mid-1990s between Bennett Reimer and David Elliott and their respective supporters. I also applaud her affirmation that, beyond the numerous debates within the music-education philosophy community, (...) the ultimate goal is to put the theories to work in schools or, in other words, to convert theories into operative paradigms.Echoing her affirmation, I shared her article with a class of my graduate students after I received the invitation to respond to this paper. All of my graduate students are current schoolteachers in the greater Washington, DC metropolitan area in the United States. Some of them are young teachers; others have decades [End Page 114] of teaching experience. As a university professor, I have always been thrilled by how much my thoughts are inspired by my students—by their stories, writing, discussions, dialogues, and sometimes very challenging questions in class. Their concern for their daily jobs and their students constantly remind me of our responsibilities to the children in the schools. However, with our schools and students in mind, I have to ask the music education philosophy community a question: Is "producing a unified concept of music," or "searching for a unified approach," or even aiming to "develop a unified approach in music education" as proposed by Panaiotidi what we truly need?In her paper, Panaiotidi discusses the debate over the approaches in music education by Reimer and Elliott in the context of paradigm shifts. The term, "paradigm shift," was introduced by Thomas Kuhn in 1962 in his highly influential book, The Structure of Scientific Revolutions. Kuhn proposes that almost every significant break-through in the field of scientific endeavor is first a break with tradition, with old ways of thinking, with old paradigms. For example, until the germ theory was developed, there was a high percentage of deaths during childbirth and scientists were not sure why. Likewise, in military settings, more people were dying from small wounds and diseases than from the major traumas experienced on the frontlines. But as soon as the germ theory was developed, a whole new paradigm—a better, improved way of understanding what was happening—made dramatic and significant improvements in the practice of medicine possible.The United States today is the setting for another fruitful and powerful example of a dramatic paradigm shift. The traditional concept of government had been monarchical, based on the divine right of kings. It was not until centuries later that a significant break-through paradigm was developed: government of the people, by the people, and for the people. A constitutional democracy was born that unleashed tremendous human energy and ingenuity. This new paradigm, over time, generated personal empowerment, free enterprise, a higher standard of living, freedom and liberty, and influence and hope unequaled in the history of the world.Stephen R. Covey, the author of a popular book in the late 1980s, The Seven Habits of Highly Effective People, cites Kuhn's conception of paradigm shift to illustrate his own ideas. He describes an experiment at the Harvard Business School in which an instructor passed out a picture of a young woman to half of the class and a picture of an old woman to the other half. The students were asked to look briefly at the picture and pass it back. The professor then asked the class to describe the woman as he projected on a screen a picture of a woman that was a combined image of the "old" and "young" women. Needless to say, the students debated the age of the woman. If they had seen the "young" version, [End Page 115] they could see only a young woman now, and vice-versa. Each student was adamant about his or her position. They did not see the image in another way until the lines were pointed out to demonstrate the features of the old and young woman. Covey cites this exercise to prove the powerful conditioning effects of one... (shrink)

In the last two decades, a continuous migration of people into South Africa from Zimbabwe has increasingly foregrounded intractable philosophical questions concerning the complexities of “displacement”, and “place”, inherent to which are notions of “national identity” (the autochthonous and different peoples) and “home”. Neatly distanced academic reflections often reduce the Zimbabwean migration story to measurable motivations and statistics, and disturbingly, do little to check violently xenophobic associations between émigrés and malignant tropes of societal decay. In this paper, I propose an (...) alternative view, based on the belief that personal narrative and self-reflexive dialogue regarding art-making and its exigencies hold the potential to produce a deeper philosophical insight into the increasingly diasporic human condition, which is needed both to undo malicious stereotyping and to validate the contributions made by migrant identities to the decolonial project. The article engages with three Zimbabwean artists living and working in post-apartheid South Africa, Ronald Muchatuta, Gerald Machona and Vulindlela Nyoni. Just as our artworks act as invitations to enter into difficult, heterotopic spaces, I invite you into a self-reflective textual space that enacts the ambivalence and uncertainty at the beginning of an investigation in which questions are generated. My aim is not to offer neatly packaged answers, but to open the reader, through the text as artwork, to an experience of the dialogical fissures, gaps, silences and contradictions that (in a way foreclosed to any coherent account) reveal the traumatic ambivalence of diaspora experiences in the moment of “being unspoken”. (shrink)

Engaging in dialogue with African philosophy, I respond to questions raised by Thaddeus Metz on characteristics of Confucian philosophy in comparison with African philosophy. First, in both Confucian philosophy and African philosophy, harmony/harmonization and self-realization coincide in the process of person-making. Second, Confucians accept that sometimes it is inevitable to sacrifice individual components in order to achieve or maintain harmony at large scales; the point is how to minimize such costs. Third, Confucians give family love a central place in (...) the good life before extend love to the rest of the world. Fourth, the Confucian philosophy of gender equality is based on appropriate division of labor consistent with its yin-yang philosophy, rather than equal split of power in the family. Fifth, in the Confucian view, hierarchy and harmony do not necessarily contradict each other, though hierarchy is not essential to all forms of harmony. The two can co-exist. (shrink)

The point of view put forth in the following pages differs greatly from the common perspective according to which the treatises 30 to 33 constitute a single work, a Großschrift, and this single work, Plotinus essential response to the ...

For both Jung and Patañjali our human desire to understand “God” is as real as any other instinct. Jung’s and Patañjali’s models further align in their emphasis on the teleological directedness of the psyche, and their aim at reconciling science and religious experience. As an atheist, Freud was in disagreement, but all three scholars align in their emphasis on the study of affect as an empirical means of entering into the psyche. For Patañjali, the nadir of affect lays in transcending (...) sorrow and stabilizing the mind. Mental stability in turn produces the capacity to fully differentiate between the binding states of mind, which lead to human suffering, and the experience of pure consciousness resting in authentic nature. Contemporary brain research indicates that conscious states are inherently affective—further, the upper brainstem is intrinsically conscious whereas the cortex is not; it derives its consciousness from the brainstem. Understanding consciousness, then, may have less to do with reflective cognition than with instinct. This research spotlights the phenomena of affect, as it appears to not only draw us back to the highly significant rupture of the Freud Jung dialogue, but also forward into formulating a contemporary clinical picture of the drive towards (or away from) religious experience. (shrink)

The relationships in schools, dedicated to learning, can be described in terms of ‘conversations’ or ‘dialogue’. Where the dialogue is essentially hierarchical and backward looking, it is broadly conservative; where the dialogue is more egalitarian, uncertain, and forward looking, it is more radical. In the latter group are John Macmurray, Buber, and Noddings. Central to dialogue—notably for Buber—is the role of surprise. Surprise is not an alternative to planning and order in schools, and it is not (...) even an alternative to repetitive practice. It is, instead, that which must be allowed to occur in any dialogic encounter. Schooling that is creative and filled with hope, rather than wholly predetermined, certain and ‘perfect’, will also be surprising. (shrink)

Few philosophers have devoted more than passing attention to similarities between the thought of Søren Kierkegaard, a Danish Christian, and Emmanuel Levinas, a French Jew. Here, one of philosophy of religion's most distinctive voices offers a sustained comparison. Focusing on questions surrounding otherness, transcendence, postmodernity, and the nature of religious thought, Merold Westphal draws readers into a dialogue between the two thinkers. Westphal's masterful command of both philosophies shows that each can learn from the other. Levinas and Kierkegaard in (...) Dialogue is an insightful and accessible contribution to philosophical considerations of ethics and religion. (shrink)

Dialogue systems, from Virtual Personal Assistants such as Siri, Cortana, and Alexa to state-of-the-art systems such as BlenderBot3 and ChatGPT, are already widely available, used in a variety of applications, and are increasingly part of many people’s lives. However, the task of enabling them to use empathetic language more convincingly is still an emerging research topic. Such systems generally make use of complex neural networks to learn the patterns of typical human language use, and the interactions in which the (...) systems participate are usually mediated either via interactive text-based or speech-based interfaces. In human–human interaction, empathy has been shown to promote prosocial behaviour and improve interaction. In the context of dialogue systems, to advance the understanding of how perceptions of empathy affect interactions, it is necessary to bring greater clarity to how empathy is measured and assessed. Assessing the way dialogue systems create perceptions of empathy brings together a range of technological, psychological, and ethical considerations that merit greater scrutiny than they have received so far. However, there is currently no widely accepted evaluation method for determining the degree of empathy that any given system possesses (or, at least, appears to possess). Currently, different research teams use a variety of automated metrics, alongside different forms of subjective human assessment such as questionnaires, self-assessment measures and narrative engagement scales. This diversity of evaluation practice means that, given two DSs, it is usually impossible to determine which of them conveys the greater degree of empathy in its dialogic exchanges with human users. Acknowledging this problem, the present article provides an overview of how empathy is measured in human–human interactions and considers some of the ways it is currently measured in human–DS interactions. Finally, it introduces a novel third-person analytical framework, called the Empathy Scale for Human–Computer Communication (ESHCC), to support greater uniformity in how perceived empathy is measured during interactions with state-of-the-art DSs. (shrink)

Of all disagreements, the gulf between those who believe in a religious mindset and those who don't is arguably one of the greatest. In the United Kingdom and Europe, the population is divided almost equally between those who espouse religious beliefs and those who don't. In the United States, almost two thirds hold some form of religious belief. This fascinating book, based on conversations between religious and non-religious participants, asks if societies divided on such fundamental questions can nonetheless find some (...) common ground. A rich array of topics are explored, including the complexities of the concept of 'God', the relation between science and religion, love, the ethics of altruistic concern, environmental ethics and the challenge of climate change, shedding important positions often taken to be intractable or non-negotiable. In addition, topics of a more reflective nature but also prone to polarise are also examined, such as spiritual experience and practice, mindfulness, the arts and human consciousness. Religion and Atheism in Dialogue will interest anyone who is concerned about the clash between the religious and the secular and how to move beyond it, as well as students of ethics, philosophy of religion and religious studies. (shrink)

The motivation for _Sociology and Classical Liberalism in Dialogue: Freedom is Something We Do Together_ is based on two observations: first, sociology as a field is populated with scholars on the left and second, (few but still) classical liberals and libertarian scholars are found in neighboring social science fields, such as economics, political science, and political philosophy. Can scholarship benefit if sociology and classical liberal ideas are in dialogue? To answer the question, the book gathers sociologists, criminologists, demographers, (...) and political scientists that care about classical liberal ideas, or are willing to engage their sociological thinking with classical liberal ideas. Not all authors would identify themselves as classical liberals. These contributors discuss sociological topics through the lens of classical liberalism, asking how issues such as class, gender, or race relations can be viewed with a different perspective. Chapters also delve into the intersection of sociology and classical liberalism, exploring where viewpoints conflict and where they align. (shrink)

It is widely accepted that the machinery of multicultural societies and liberal democratic systems is dependent upon various forms of dialogue - dialogue between political parties, between different social groups, between the ruling and the ruled. But what are the conditions of a democratic dialogue and how does the philosophical dialogic approach apply to practice? Exploring the multifaceted nature of the concepts of dialogue and democracy, and critically examining materializations of dialogue in social life, this (...) book offers a variety of perspectives on the theoretical and empirical interface between democracy and dialogue. (shrink)

Healey et al. use experiments with chat dialogues to test the hypothesis that language co‐ordination is driven by ‘running repairs’. They replace signals of understanding such as “okay” with weaker, ‘spoof’ signals like “ummm”, and replace specific requests for clarification like “on the left?” with signals that suggest a higher degree of misunderstanding like “what?”. The latter manipulation causes participants to switch rapidly to more abstract forms of referring expression.

Study of man in interpersonal relationships in the context of the religiosocial philosophy of Martin Buber, 1878-1965.

The events of performance artist Stelarc serve as a mediation between the discourses of cultural and social theory, science and the tropes of science fiction, translating theoretical and narrative models of the `posthuman' into performative parameters of corporeal actualization. His cultural and theoretical bricolage elides borders, creating a dialogue with numerous discourses surrounding bodies, sexual politics, `becomings', and the tension between Cartesian and phenomenological models of the body. Do his `events' offer empowered alternative bodies, or are they representative of (...) a reductionist objectification of the physical, psychical, political and social body to a l'art pour l'art sensibility; subordinating (hyper)reality, theory and ideology to the `pure' aesthetics of art, image and performance? While portrayed by some as an exemplary proponent of our putatively optimistic posthuman future, many see Stelarc's work as being indicative of the apocalyptic dangers of untheorized approaches to incorporating technology into the body. This interview with Stelarc attempts to clarify the artist's position on many such issues surrounding his work. (shrink)

Explanation and argumentation can be used together in such a way that evidence, in the form of arguments, is used to support explanations. In a hybrid system, the interlocking of argument and explanation compounds the problem of how to differentiate between them. The distinction is imperative if we want to avoid the mistake of treating something as fallacious while it is not. Furthermore, the two forms of reasoning may influence dialogue protocol and strategy. In this paper a basis for (...) solving the problem is proposed using a dialogue model where the context of the dialogue is used to distinguish argument from explanation. (shrink)

In this article we consider a thesis that is quite typical of the philosophy of dialogue: namely, that it is in dialogue that the person comes to be. We present the thesis drawing upon the ideas of Martin Buber, John Macmurray and Calvin Schrag. (The last of these is not himself a fully-fledged philosopher of dialogue, but he does shed some light on the ideas of the others.) We also analyze the ideas developed by Karol Wojtyla, who (...) – although he cannot be classified as a member of this philosophical school – offered his own interpretation of the thesis. The paper shows that philosophers from various schools can find themselves considering much the same thesis, and that this can lead to positive and constructive outcomes. Moreover, the person occupies the center of attention for personalists as well as philosophers of dialogue, so a mutual exchange of insights between them regarding the structure of personhood may well prove vital to a better understanding of the person as an existing reality. (shrink)

Western Political Thought in Dialogue with Asia is a unique collection of essays that examines the exchange of political ideas between Western Europe and Asia from the Middle Ages to the early twentieth century. The contributors to the volume call for globalizing the scope of research and teaching in the history of political thought.

This paper comprises a response by Derek Clifford to an article in Ethics and Social Welfare 19 (1): ‘Under the microscope: shifting perspectives on an ethics case in participatory health research in a German care home’ and replies from two of the authors (Sarah Banks and Marilena von Köppen). Clifford highlights the structural position of older people and those with disabilities and the value of an ethics of care perspective, which are under-explored in the original article. Banks and von Köppen (...) each offer their reflections, valuing Clifford’s perspective as an important lens through which to view the substantive ethical issues raised by the case, alongside their interest in how ethics cases are constructed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 13.1 (2005) 104-108 [Access article in PDF] A Response to Estelle R. Jorgensen, "Four Philosophical Models of the Relationship Between Theory and Practice" Randall Everett Allsup Teachers College, Columbia University Each of the four philosophical models that Estelle Jorgensen has put forth contests, adheres to, or adjusts the hierarchical relationships between dualities, specifically the theory and practice of musical learning. The dichotomy model faces (...) binary associations head on, splitting existence however defined into dualisms like "this/that," "us/them," and "mind/body." Models of polarity, according to Jorgensen, accommodate dualities by buffering edges, emphasizing the interconnectedness of binary relationships. The fusion metaphor is exemplified by Paulo Freire's notion of praxis in which action and reflection are welded together to create hope for a new world, one free of the oppression and conflict that is inherent in binary relationships. The dialectical model is contrapuntal by nature, Edward Said would say.1This relationship highlights our postmodern devotion to différence by embracing the tension created through inclusion so that "this is with that," "we are with them and they are with us," and "mind is with body, just as body is with mind."2Perhaps there is a fifth model, a new kind of relationship where the oppositional or hierarchical nature of binaries co-exists peacefully without tension. [End Page 104] Such an arrangement is, I think, an outgrowth of capitalist democracy—it is, most especially, representative of our global, information age. This type of relationship is problematic philosophically, we will see, lacking as Jorgensen has outlined "logic evidenced in principles," "internal consistency," and "coherence within a unity or whole." Likewise for Bennett Reimer, this new mind-set fails the test of philosophical scrutiny, unconcerned as it is with a "reasoned, structured set of propositions."3 Whether philosophy or mind-set, this new arrangement has as much to do with freedom and free markets as it does with the particular conditions of both modernity and postmodernity.In the novel, White Noise, by Don DeLillo, the postmodern condition is represented in part by an "Airborne Toxic Event," a cloud of gas, Nyodene D, which floats above a tranquil All-American college town.4 A sense of crisis is felt, but felt obliquely and no one knows exactly what harm has been done. In Albert Camus' The Plague, by contrast, the disease that infests the North African town of Oran acts to awaken its citizenry, confronting the populace with the moral imperatives to fight or flee.5 Perhaps the metaphor of quarantine symbolizes the hard boundaries of modernism.Capitalism seeks to dissolve conflict. It operates silently, in the realm of social production, like a cloud of gas. Denise, Jack Gladney's daughter in White Noise, mumbles over and over in her sleep, "Toyota Corolla, Toyota Celica, Toyota Cressida...."6 There is a sense of ontological change, that the expanding reach of media, information, and technology rewires the way we think, the way we dream. Tensions are willed away. The expansion and survival of market shares, after all, depend on the peaceful erosion of boundaries—boundaries that demarcate what we learn, what we buy, and who we are.Questions about what this new system means—this new mind-set—are explored in a book called Empire by Michael Hardt and Antonio Negri.7 These writers posit a global world of communication, cooperation, and affect, where an increase in hybrids creates a kind of "omniversality" where the virtual, natural, and ideological converge.8 In the dialectical relationship that Jorgensen shares with writers like Paulo Freire and Maxine Greene, there is no acceptable synthesis, no peaceful co-existence, between oppressors and oppressed. While according to Freire, the oppressed may internalize or house characteristics of the oppressor. In the global world of capital, the oppositional nature of the Other is replaced by niches or fragments, dissolving differences into marketing opportunities, really. That the avant-garde no longer exists is proof of this new state.As the essentialist nature of the Other fades away... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 13.1 (2005) 111-114 [Access article in PDF] Response to Elvira Panaiotidi, "The Nature of Paradigms and Paradigm Shifts in Music Education" Janice Waldron Michigan State University Elvira Panaiotidi makes a strong case that MEAE and praxialism represent, respectively, the poesis and praxis strands of the Aristotelian conception of art and that, consequently, one cannot conclude that the two accounts are ontologically incompatible. At this (...) point I wish only to respond to an implication which I believe may be present and discuss its relevance. That is that the search for ontological explanations has historically preceded (or at least should precede) the development of music education theory. A brief look at the historical record indicates that the development of music education theory seems to have been dominated by the search for axiological more than ontological explanations. Panaiotidi lists both aspects as integral parts of the theoretical kernel, however, the need to justify music education in terms of value has, at least in the United States, apparently preceded any search for meaning.Michael Mark recounts a report of the Boston School Committee in 1837, at which certain arguments of Aristotle were invoked in order to persuade the commitee of the value of music instruction.1 The entire transcript of that meeting amounts to a polemic about the value of music, resulting from its supposed effects on the spirit, character, or health, yet the record is devoid of any discussion of what might actually constitute music.2 Marie McCarthy describes how the search for aesthetic foundations over a century later was fostered by a need to "explain [music education's] importance in the curriculum."3 Of the scholars of this period, Abraham Schwadron in particular was quite explicit in articulating how his theory of aesthetics was motivated by what he considered an appalling inability for music educators to validate their field's existence.4This is not to imply that the authors of our current philosophies were not searching for or failed to provide strong ontological arguments for music education or to insist that they have always framed the question: What is valuable about music? as the question: What is music? in order to address these ideological [End Page 111] and political pressures. I am merely suggesting that the search for ontological explanations has generally followed the search for value. The historical pattern is one of reaction to various pressures, followed by the eventual development of an aesthetic philosophical framework which was intended, directly or indirectly, to respond to those pressures. The magnitude of such pressures to justify the place of music in the curriculum would seem to differentiate music education paradigms from those of the social sciences and humanities, of which, the author asserts, they are hybrids. Combined with the marked differences in social and political pressures which are found in various times and places in America, it would also account for the emotional tone of the debate, to which the author also alludes. Presumably, such emotion results not only from various scholars' attachments to their ontological beliefs, but from the practical consequences which occur when a theory is ultimately rejected or implemented at the classroom level, based on its perceived ability to define what is valuable in music education.Although this differentiation is subtle and does not detract from the strength of Panaiotidi's central argument, it has implications for the eventual implementation of any unitary theory. Specifically, if we accept that, ontologically speaking, praxialism and aestheticism are two sides of the same coin, it is likely that the argument will simply transform into an axiological question concerning which side is more valuable, a fact to which the author also alludes. Considering past evidence, the overriding concern for value justification may make implementing any unitary theory difficult, regardless of the benefits that could potentially be gained through such a "balanced music education." Consider, for example, that a unitary theory would be less susceptible to ideological use because of its breadth. In other fields such as literature or science, this would be a... (shrink)

A close relationship between masculinity, alcoholism, widowhood and gendered poverty is evident in contemporary African society. Alcohol consumption among young men begins at an increasingly early age due to availability of low-priced alcohol presented in different varieties. Young, beautiful and sexy girls are used to advertise alcohol. Many young men are addicted to alcohol and totally unable to be free from alcohol addiction. This sad state coupled with the impact of globalisation on the economies of many African countries has left (...) many men jobless. Consequently, many households are headed by women in a patriarchal context where men are supposed to be the heads of the family. Through an Afro-feminisation of Mother Earth lens, this article re-read Proverbs 31 in dialogue with Acts 9:36–43, to show the role of women in the socio-economic sustainability of the family, society and in enhancing gender equity.Contribution: This article re-read Proverbs 31 in dialogue with Acts 9:36–41 as resources for enhancing gender equity. An Afro-feminisation of Mother Earth for sustainable development was presented in ways that open up possibilities for the life of the Garden of Eden in Genesis 1:28 to flourish. (shrink)

RésuméDans cet article, je défends la signification contemporaine de la pensée de Hegel sur la subjectivité et la dialectique en impliquant Georg Wilhelm Friedrich Hegel et Hans-Georg Gadamer dans un dialogue, puis en clarifiant les caractéristiques de l'esprit et du concept. La théorie de la subjectivité de Hegel et sa pensée sur la dialectique font face à de nombreuses critiques. L'un de ces critiques est Gadamer ; cependant, la philosophie de Gadamer est, en fait, assez proche de celle de (...) Hegel. Je prends la relation Hegel-Gadamer comme une illustration de la pertinence et de l'influence de Hegel. Je démontre ensuite l'importance contemporaine de Hegel en analysant les caractéristiques de l'esprit et du concept. Enfin, je propose que l'esprit absolu et le concept de Hegel restent significatifs. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Elvira Panaiotidi, “The Nature of Paradigms and Paradigm Shifts in Music Education”Carlos Xavier RodriguezElvira Panaiotidi has delivered a very useful and appealing paper on the topic of how the music education community decides it is time to change the way it thinks and acts. Her primary focus is whether the concept of "paradigms" proposed by Thomas Kuhn in The Structure of Scientific Revolutions reasonably explains how change (...) occurs in music education theory and practice and, if not, whether it can be modified so that it does. Following Peter Abbs' account of paradigm shifts in arts education, she proposes that paradigm shifts occur when methods of inquiry change even if what is being analyzed does not change. More specifically, paradigm shifts involve gradual transformations such that certain principles and terminology are carried over from the previous paradigm to the new one, and change at a slower rate than the methodologies adopted to make sense of them. Such discrepancy creates the kind of communicative discord she alludes to in her introduction: the aesthetic/praxial debate. Her further analysis of Abbs' argument leads her to conclude that the paradigm shifts he describes in arts education are different in kind from those intended by Kuhn. They apparently lack conceptual modification, or "conversion experience," and seem motivated by the need for increasingly comprehensive explanations of artistic behavior and thinking.Panaiotidi's synopsis of Kuhn's original criteria for paradigms reminded me [End Page 108] that his Structure of Scientific Revolutions as my first college textbook, exerted a powerful influence on me by its power to explain how humans formulate and react to new and better ideas. Panaiotidi seems to share this feeling, and scrutinizes Kuhn's original intention to use paradigms as a way of delineating the natural sciences from the humanities. Kuhn himself cautioned that his characterization of change and progress in science is not readily applicable to the arts and, more importantly, that interpretive frameworks for understanding art are not paradigms because paradigms are not theories, a distinction he echoed throughout his career. I argue that Kuhn would not consider the aesthetic and praxial approaches to music education paradigms at all; rather they are more a search for "a more inclusive theory" as Panaiotidi states. However, the ready applicability of Kuhn's criteria for paradigms to the work of music education philosophers is apparent. Their writings have been "sufficiently unprecedented to attract an enduring group of adherents away from competing modes of scientific activity." They have become associated with new methodological strategies because their writings are "sufficiently open-ended to leave all sorts of problems for the redefined group of practitioners to solve."There is, however, quite a difference in the way that science and art communities function. As Ted Gracyk writes in his book, I Wanna Be Me: Rock Music and the Politics of Identity:Where a scientific community singles out one paradigm as the foundation for further research, artistic communities do not. Once Newtonian mechanics was accepted as a scientific paradigm, no other approach to mechanics counted as a rational basis for mechanics. "Unlike art," Kuhn observes, "science destroys its past." The artworld can admire multiple paradigms, representing different periods in art history, without risking incoherence: Picasso's success did not lead museums to put their Rembrandts into storage."1Perhaps, then, the discord noted by Panaiotidi between "aestheticians" and "praxialists" arises not from a shortcoming of music education theory to provide what she calls "tenacious theoretical footing which could help settle the dispute," but from a too-literal interpretation of Kuhn's original criterion that applies to the natural sciences: new paradigms must necessarily refute those that have preceded them. Indeed, the music education research community has grappled with this very issue in its polarized views of acceptable research practice, which is perhaps more fundamentally a misunderstanding regarding the nature of the sciences versus the nature of the humanities. We in arts education have long admired scientific inquiry for its relative stability, what Kuhn calls a "normal" versus "revolutionary" mode of activity. However, as Panaiotidi explains, "Normal science [End Page 109] is characterized by a broad consensus of the specialists and is not by its nature... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Elizabeth Gould, “The Nomadic Turn: Epistemology, Experience, and Women College Band Directors”Stephen Franklin ZdzinskiI want to thank Elizabeth Gould for providing us with a thought-provoking paper examining the journeys of women university band directors through a post-modernist and feminist perspective. As a music education professor who deals with students from undergraduate through doctoral levels, I have the opportunity to provide professional guidance to many students, both (...) female and male. A number of my female instrumental music education students ask me about becoming high school and university band directors. I want to be honest with them about the realities of the profession, but I want also to encourage them to pursue their [End Page 195] professional dreams and goals despite any potential structural limitations. I found this paper to provide me with very good insights that I can use to advise my students.According to Gould, there are a number of factors that contribute to the under-representation of women in the field of college band directing. For example, we can see that historically the first band directors and instrumental music educators came either from military or professional performance backgrounds and as a result, most instrumental music teachers were initially male. In addition, early college band organizations, particularly marching musical organizations, were entirely male in composition. While these conditions have not continued to the present day, they set the stage for what was to follow.Socialization and Women University Band DirectorsThe different socialization of girls and boys may also be found to play a role in the under-representation of women as university band directors. A number of researchers have found gender differences in instrument selection,1 and other research points to additional familial socialization differences by gender.2According to Paul Woodford,3 the primary socialization of music education majors and the formation of a music teacher's identity occur during their own pre-collegiate schooling. Several researchers have suggested that precollegiate teaching experiences may be influential in decisions to choose music teaching as a career.4 Through countless hours of observation in their own programs, female and male students may be socialized to professional expectations of band directing before they ever enter a university-based instrumental music education program. Sylvia Tibbets, Winifred Shepard and David Hess, Stan Albrecht, Philip Griswold, and Denise Chroback all found that instrumental music teaching was viewed by both children and adults as a masculine profession.5 Woodford found that many of our current teacher education programs merely recreate existing practices, thus replicating inequitable situations in regards to opportunities for women in the profession of high school and college band directing.6After graduation, the outcome of a gender-influenced instrument choice may be inhibiting the career aspirations of future women band directors. Research by Barry Kopetz examined the influences of gender, school type, and instrument on instrumental music teacher selection by school principals.7 While significant gender differences in favor of males were found, they accounted for only 3% of the variance in teacher selection. Also important was the type of school being attended (performance versus music education institution), also accounting for 3% of the variance. Instrument, on the other hand, accounted for 10% of the variance in teacher selection, with teachers being selected in the following order: [End Page 196] trumpet, clarinet, oboe, and violin. If one examines the instruments commonly played by female instrumentalists, the research by Kopetz may suggest that gender discrimination in band hiring may in fact be exaggerated by playing the "wrong" instrument. If the student in addition comes from a performance-oriented school, that is considered by hiring officials as another negative factor that reduces their job possibilities.Structural Difficulties and Woman University Band DirectorsGould makes an interesting point when she states that while it is useful to know about the reasons for a lack of women in the band directing profession, this information by itself is not going to change things until we actually understand the structural underpinnings of the problem. The use of the metaphor of the nomad is helpful in attempting to explain the structural difficulties inherent in women becoming university band directors. In fact, I... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 13.1 (2005) 95-98 [Access article in PDF] Response to Frede V. Nielsen's "Didactology as a Field of Theory and Research in Music Education" Sophie Haroutunian-Gordon Northwestern University Let me begin by acknowledging what is about to become obvious: I am not a musicologist, music educator, or a philosopher of music education. I am, however, a philosopher of education and a devoted student of music, (...) so I found Frede Nielsen's paper both intriguing and rewarding. It is intriguing because it positions the theoretical study of music education—what he calls "didactology"—in relation to the practice of teaching music and exemplifies, if you will, the practice of didactology. As a philosopher, and one who has worked at philosophy of science as well as philosophy of education, I became intrigued by the conceptual ground-clearing and ground-construction that Nielsen undertakes in his paper.I found the paper rewarding for two reasons. First, it is about music—at least I think it is about music, and music is about my favorite topic. Like many good works on aesthetic subjects, it seems to offer another way into a beloved yet ultimately mystifying domain and, thus, another glimpse into the unfathomable. Second, the paper offers a complex and rigorous analysis. I had fun wading through its parts and beginning to view them in relation to one another. I think that I have begun to understand not only the difference between didactics and didactology but also something about the contribution the latter might make.So to begin these remarks, let me offer a brief overview of some key points in the paper. I will then go on to raise a question or two with the hope that these will prompt Nielsen to further elaborate his ideas.To begin, Nielsen separates the topic of music pedagogy into two parts—the [End Page 95] normative and the descriptive. He defends both the study of theory and the study of practice as useful for understanding the subject of music pedagogy. He then defines the term "didactology" as "the theory of didactics, especially the theory of the content, aim, and rationale of education," and he defines "didactics" as planning and decision-making related to the practice of teaching. He tells us that didactology, though theoretical, is related to practice, that while it is descriptive rather than prescriptive it assumes values, that it "implies a view of science and the subject—the subject of music and the music itself." A didactological statement is a scientific statement and its truth is judged according to criteria for scientific truth. In summary, according to Nielsen: It is the task of and the object area of didactology in relation to the subject of music to describe, analyze, problematize, and develop intended, actual, or possible issues concerning music education as well as its conditions with special regard to the content, aims, and rationale of the education. Can the didactology of music be an independent science? The answer seems to be yes. As an illustration of the claim, Neilsen presents us with four levels of didactological reflection. The four levels, from top to bottom, are, fourth, reality (natura)—the "inner" and "outer" aspects—which refers to the experiences of hearing/understanding and performing the music; third, the musical phenomena (ars)—the music itself (the musical phenomena include, it seems, the social and existential contexts in which the music occurs); second, the theory that offers a disciplined or systematic explanation of the musical phenomena (scientia), that is, musicology (the theory envisions the musicology—the explanation of the musical phenomena—in relation to, for example, the theory and practice of teaching the music itself); and first, the didactic practices and didactological principles (didactica) that serve as the basis for determining "the content, aim, and rationale of teaching and learning music."Now despite the elegance of the typology here, I find myself wondering about two things. First, what is the subject of Nielsen's analysis? He tells us that... (shrink)