Problematic Dialogue Research Articles

Stimulating the Professional and Personal Self-Development of Future Teachers in the Context of Value-Semantic Orientation

The actualization of value-based approaches to vocational education is determined by the presence of several contradictions, among which it is necessary to name the following: the need for educational practice in more productive means; the implementation of a humanistic educational paradigm and the unpreparedness of teachers to use them; the need for teachers with formed attitudes towards value attitudes towards themselves, their professional activities, education, self-development, to the people around them, and the lack of an effective system of pedagogical tools for solving the abovementioned problem in the process of professional training of future teachers; and the particular importance of the axiological component of the content of vocational education and its insignificant component at the level of the educational process. The article deals with the essence of professional thinking of the teacher, ways and means to develop its value-semantic component in the process of learning pedagogy, problematic dialogue, analysis of texts, promotion, and other professional reflection.

Педагогические условия реализации ценностно-смысловой направленности обучения математике в высшей школе

The article actualizes the issue of updating the content, methods and means of teaching mathematics at the university within the sociocultural paradigm. A significant contradiction characterizing the crisis situation in the field of higher mathematical education is the mismatch between the traditional organization of the educational process and the powerful developing potential of mathematical disciplines. Being overloaded with a lot of information, altogether with its insufficiently developed anthropological, cultural-like and communicative components, mathematical education hinders the mental development of the learner’s personality in relation to such important qualities as search activity, creativity, and creative thinking. The solution to this problem can be the transformation of the cognitive-information model of learning, the introduction of pedagogical technologies that actualize the sociocultural aspect of mathematical education. The aim of the study is to develop methodological foundations for the implementation of the value-semantic orientation of teaching mathematics at the university, expressed in providing a set of pedagogical conditions related to the selection of content, determination of teaching aids and methods, ways of organizing the interaction of students and a teacher, in which students intelligently master mathematical concepts, and freely operate with them. The didactic conditions for the implementation of the value-semantic orientation of teaching mathematics at the university are: the transformation of mathematical content, expressed in learning from sociocultural experience; the psychodidactic approach, focused on building the students’ self-motivation; the use of teaching methods that provide cognitive and emotional empathy (educational mathematical discourse), the activization of productive mental activity (technology of problematic dialogue); inclusion of non-standard, creative tasks, training cases. Providing these conditions will allow to realize the humanitarian potential of mathematics, to reveal the social, practical and personal significance of the subject matter.

Democracia e transconstitucionalismo: “direito ao esquecimento”, extraterritorialidade e conflito entre ordens jurídicas

Resumo Estado e território são pilares fundamentais do Direito moderno. Todavia, a progressiva perda de centralidade desses elementos caracteriza-se como uma transformação que tem feito com que conflitos de direitos humanos e fundamentais passem a implicar simultaneamente ordens jurídicas de diversos níveis (internacional, transnacional e nacional). Nessa linha, temas como a legitimação democrática do Direito, sua eficácia espacial e a compatibilidade entre ordens jurídicas passam a ser objeto importante de diversos estudos jurídicos. Este artigo, partindo do exame do caso do “direito ao esquecimento”, na forma como definido por tribunais na Europa e no Brasil, pretende expor essas dificuldades operacionais do Direito. Para tanto, examina-se a forma como os ordenamentos implicados e seus tribunais delimitaram esse direito e a eficácia espacial de suas decisões, abordando-se a problemática que envolve o diálogo entre ordens jurídicas e as dificuldades suscitadas pelo deslocamento da legitimidade do Direito da democracia para a racionalidade de suas normas. Em conclusão, defende-se a impossibilidade de substituição da democracia como fundamento do Direito, sem, contudo, propor um retorno aos padrões jurídicos clássicos modernos.

The Narratives of Oskar Loorits and Paul Ariste and Their Problematic Dialogue with the ‘Popular’

The topic of this paper is the dialogue of the 'popular' and 'individual', more precisely the role of two outstanding persons in trying to help find the sense of ethnic identity and working towards the establishment of the national identity of two ethnic groups in the 20th century. The paper deals with the Estonian and Votian peoples and respectively the contributions of Oskar Loorits (1900-1961), the Estonian folklorist, and Paul Ariste (1905-1990), the Esto- nian linguist, to the development of the nationalist sentiment of both nations. The article addresses the choices made by them when compiling their more or less ideological writings, as well as their endeavours, controversies and per- sonal qualities and period backgrounds, eventually the supposed reception of their message by the target groups - the Estonians and the Votes -, as well as the reflections of their ideas in our time.

Early narcissistic transference patterns: An exploratory single case study from the perspective of dialogical self theory

Persons exhibiting narcissistic personality traits are difficult to treat in psychotherapy, in particular because of the problems they have in building up a sound therapeutic relationship. We discuss the hypothesis that the threats to a therapeutic alliance emerge both from patients' maladaptive patterns of behaving towards others and from therapists being affected by these patterns and becoming a part of a dysfunctional dialogue. We examine this phenomenon in terms of Dialogical Self Theory and suggest that a patient can be conceptualised as embodying a cast of characters weaving a problematic dialogue both within the self and with other selves. Via the analysis of the transcripts of the first four audiotaped sessions of a psychotherapy involving a woman with narcissistic traits we identified one early dominant dialogical pattern in which a contemptuous and a contemptible character faced each other, shadowing characters in search for help. Such a pattern is consistent with the literature on interpersonal processes in narcissism. The therapist was involved in the pattern from the third session, suggesting that countertransference with individuals displaying narcissistic personality traits is caused more by the pathology than by their therapist's characteristics. Implications for treatment are discussed.

Grammars as Parsers: Meeting the Dialogue Challenge

Standard grammar formalisms are defined without reflection of the incremental, serial and context-dependent nature of language processing; any incrementality must therefore be reflected by independently defined parsing and/or generation techniques, and context-dependence by separate pragmatic modules. This leads to a poor setup for modelling dialogue, with its rich speaker-hearer interaction and high proportion of context-dependent and apparently grammatically ill-formed utterances. Instead, this paper takes an inherently incremental grammar formalism, Dynamic Syntax (DS) (Kempson et al., 2001), proposes a context-based extension and defines corresponding context-dependent parsing and generation models together with a resulting natural definition of context-dependent well-formedness. These are shown to allow a straightforward model of otherwise problematic dialogue phenomena such as shared utterances, ellipsis and alignment. We conclude that language competence is a capacity for dialogue.

Introduction to the Selected Papers

I N T R O D U C T I O N T O T H E S E L E C T E D PAPERS Andrea Loscllc is an Associate Professor in the Department of French and Francophone Studies, University of California, Los Angeles. The principal challenge and merit o f this collection o f papers gathered under the title Camera on Stylo: A Problematic Dialogue? is reading across centuries, cultures, disciplines, and media in the seeming absence o f the camera and in some cases o f the modem pen. How can these serve as critical tools that wc may work into such quilled subjects as the problematic status o f the je in Renaissance poet Maurice Sceve's Delie, objet de plus haute vertu, Jean-Jacques Rousseau's theatrical descriptions o f gardens and landscapes in Julie ou la Nouvelle Heloisc. Denis Diderot's dialogic and apostrophic representations o f paintings in his Salons, as well as into those topics sharing the same cultural, historical space o f the camera and pen: Stephane Mallarme's symbolist poetics, the abstract simultaneism o f Robert Dclaunay's paintings and Guillaume Apollinaire's free verse, the dialectical images o f Walter Benjamin and Osip Mandel'stam, and visual artist Sol LcWitt's predetermined serial systems? This collection o f papers is the distilled result o f a call for papers that opens out onto the question o f language's relation to visual, material phenomena and that eschews the already well known history o f mechanical reproduction and modern visual culture. Less well-known but no less productive are the juxtapositions that place, for example, Loli Tsan's reading o f Scevc at the end o f this collection and Anthony Abiragi's reading o f M a l l a r m e ' s sonnet, A la nue accablante tu, at the beginning. The Renaissance poet's voice is delie in a mirror structure involving the relation o f a suppressed je with a t u it dares not look upon: ' M o n regard par toy me tue. Do we not hear a paradoxical echo—this doubling o f an implied t u (you) in tue (kills)—in Mallarme's meditation on the trace o f sea foam ( o f an event: a shipwreck or a passing siren) materially obliterated in the past participle, t u o f the verb taire ? S c e v e ' s arrow with which he is pierced by desire becomes, Tsan writes, the visual image du basilic et de son regard poignard. But the arrow with its feathers is also related to the agile quill, an ecriture deliee and fulfilled by this instrument. We are reminded o f how much the symbolists admired the work o f this Renaissance poet when Abiragi writes on Mallarme's sonnet that [t]he silenced ' t u ' strains prolcptically towards other elements in the poem in order to achieve some fomi o f semantic fulfillment..., The source o f this fulfillment for Sccve is visual, but the lady is herself, like the mythical basilisk, lethal in her gaze; the image o f her looking at the poet, a gaze turned on him. threatens to silence him. Like the basilisk, Mallarme's poetic ideality, evidence o f whose dangerous voice is left in only the visual trace o f sea foam, contains the possibility o f its own semantic shipwreck in the colliding material trace o f a posited, real shipwreck and its mythical cause, the figure o f the siren. One might think in this connection o f Anastasia G r a f s reflection on Mandcl'stam's metamorphk images and Benjamin's constcllatory pregnant moments or dialectical images. This essay occupies a pivotal place in this collection as a rethinking o f mystical and mystified symbolist aesthetics that in Benjamin and MandePstam reengages with penned material images during a time when painters were first experimenting with abstraction and cameras were increasingly both recording daily life

Introducing Alain Robbe-Grillet

I!':TRODUCI!':G ALAI!': ROBBE-GRILLET Ben Stolrzru5 is 1I ProfC'ssor Emcrillls ofFrC'lIch a d Comparati\'C' LileratllrC'. t;l/in'YS;')' o/Ca/i/omia. Ri,'C'rsidC'. All lilerali know that Alain Robbe-Grille! is onc of Francc's le:!ding New Novelists and avant-garde cincmatoh'Taphcrs. that his works have redefined Ihe novel and the cinema as genres. and that his art hilS left an indelible imprint on the twenlieth- century. Less well known. perhaps. is the fact thai he likes to work with other :lr1ists and that he has collaborated with painters. photographers. and musicians such as Paul Dclvau.x. Robert Rauschenberg. Jasper Johns. David Hamihon. Irina Ionesco. and Michel Fano. In 1961. before he himself became a film director. his association with Alain Resnais produced L :-II/I/{;(> derniere Mariellbad. an intemational film success. After the death of Rene Magritte. Robbe-Grillet illustratcd onc of his novels. La Bf!l/e captive (1975). with seventy-seven paintings by the Belgian surrealist painter---paintings from the collection of Georgene Magrittc. his wido\\'. It is most appropriate. therefore. that Robbe-Grillet be the keynote speaker for an interdisciplinary conference on lilerature and the ans entitled Camera 01/ Stylo: A Problematic Dialogue? . One critic. when speaking of Robbe-Grillefs style in La Jalollsie. alluded to the descriptions of things and people in this 1957 novel as Ie srylo-camera. Already_ there is a clear and direct relationship befween image and writing even before Robbe-Grillet became a film director and began collaborating with other artists. Because space and time preclude a detailed presenlation of Robbe-Grillet's oeuvre. I will use La BC'I/C' capli\Y! to illustrate his ongoing dialogue using the written text and its visible counterparts. t\loreovcr. the coming together of Magrine and Robbe- Grillet is arguably not problematic because both men opposc Ihe natural b)' highlighting thc artificial. They both believe that art exists. not to mirror nature. but to mirror itself. For them. art functions as a specular system. and its emphasis is not on the writing or painting of a story. but on the story of writing or painting. Furthermore. the opposition between nature and art engenders a theatricalization of languagc. be it verbal or pictorial. In Ecrirs comp!(!ts (686). Magrine notes aptly that painting is the visible description of thought and. in literature, with reference to Robbe-Grillet. the dramatization of language privileges the signifier over the signified. Such :lrt. insofar as it speaks primarily of itself. devalues mimesis as a rcpresenlational system, However. unlike the nonobjective art of Kandinsky or Mondrian, r l agriue's paintings arc both mimetic and anti·mimctic. Similarly. Robbe-Grillet's fiction is both referential and self-reflexive. In 1985. La BellC' capti\'c (the pictono\'c1. nOI the film by the same name) had been remaindered and you could buy it in a Left Bank bookslore for fifty fmncs. I bought one copy. bUI after leaving the store. and while walking loward the Luxembourg Gardens, I decided that I needed another onc, The salesperson looked at me with a smile of complicity on her lips and SOlid: ··Ah. vous voulez une deuxieme belle caplive! And so I did. which roises the question: what or who is the beautiful captive? Obviously. it's the tille of the book. and the title derives from six pictures of seascapes and landscapes painted by Magrine. all of them entitled La Belle capl;I'C', However. despite the connotation. there is no woman in the paintings. I a

Automatically Training a Problematic Dialogue Predictor for a Spoken Dialogue System

Spoken dialogue systems promise efficient and natural access to a large variety of information sources and services from any phone. However, current spoken dialogue systems are deficient in their strategies for preventing, identifying and repairing problems that arise in the conversation. This paper reports results on automatically training a Problematic Dialogue Predictor to predict problematic human-computer dialogues using a corpus of 4692 dialogues collected with the 'How May I Help You' (SM) spoken dialogue system. The Problematic Dialogue Predictor can be immediately applied to the system's decision of whether to transfer the call to a human customer care agent, or be used as a cue to the system's dialogue manager to modify its behavior to repair problems, and even perhaps, to prevent them. We show that a Problematic Dialogue Predictor using automatically-obtainable features from the first two exchanges in the dialogue can predict problematic dialogues 13.2% more accurately than the baseline.

Heuretics: The Logic of Invention (review)

Reviewed by: Heuretics: The Logic of Invention Tom Conley Heuretics: The Logic of Invention, by Gregory L. Ulmer; xiv & 267 pp. Baltimore: Johns Hopkins University Press, 1994, $40.00 cloth, $13.95 paper. Heuretics designates areas of logic devoted to discovery and invention. This book sets out to reconfigure the metaphors that have dominated investigation since the advent of print-culture and the Columbian voyages. Adventure, quest, risk, discovery: Francis Bacon’s analogy of scientific research to oceanic travel established the stereotypes that Ulmer strives to dismantle. In 1962 Claude Lévi-Strauss noted in The Raw and the Cooked that in our time: “It is no longer a question of sailing toward other lands: only the voyage is real, not the earth, and the routes have been replaced by the rules of navigation.” With the advent of hypermedia, creation becomes an art of selection and combination. Truth gives way to discovery. Creation is likened to a programmed mélange of material ordered by negotiation, intuition, and strategy. Ulmer performs his proof—and proves his performance—by constructing a virtual staging of a multilayered commemoration he fashions from cinema, architecture, Jacques Derrida’s oeuvre, American history, and autobiography. The result is a collage of signifiers that apposes literary theory, memory-arts, Gary Cooper’s persona in Beau Geste (dir. William Wellman, 1939), Columbian voyages, Platonic dialogues, and a canon of postmodern writings. Ulmer divides the book into four parts, the first of which crafts the overall method from Cartesian reason and Surrealist practices of juxtaposition and automatism. Part two offers a dynamic definition of choreography, the study of local, inherited, and originary areas in which subjectivity is born. In part three Ulmer [End Page 147] sets forth textual rehearsals, based on Lee Strasner’s Method (via Stanislavsky), that mobilize the space and time of his chosen materials. Part four, “Yellowstone Desert,” bring together the strands of the narrative embroidery into a gag-joke (a “puncept” on Custer and custard) that explodes in the author’s face. A good deal of the work turns on Ulmer’s treatment of chora. Exploiting its signifying potential (chora, corps, choral, chorus, coral) he discovers that the myth of the world’s creation recounted in the Timaeus begins when the demiurge makes an X from two strands of plasma. The chi is folded as colures of a sphere that becomes the globe. Nonetheless the presence of the self as an unknown (x) is inferred (in I, or ich). Ulmer shows that “in subordinating mystery to memory, and arguments to paradigms,” choreography will “engage the users’ premises in the process of learning, opening a mutually transforming circuit between judgment and theory, and hence affect not only (. . .) institutional practices (. . .) but human subjectivation as well” (p. 202). Patterned constructions replace the creation and resolution of enigmas. Hypermedia becomes the technology of new creation, while choreography comprises “the institutional practice for augmenting the intuitions of inference, for writing with the logic of the unconscious” (p. 224). Heuretics extends the field of play staked out in Ulmer’s Teletheory. Here is offered a scheme for creating multileveled texts that are both creative and critical and infinitely generative, and that invite readers to connect electronic media to the unconscious. Most readers will not fail to appreciate the wit of the exposition and the clarity of the creative method. Others will pause over some of its assumptions. Certain critical paradigms, such as the antithetical ontologies of Lacan and Derrida, appear easily reconciled. The unnameable traumas of history (genocide) and psychogenesis (the birth and growth of subjectivity) are glossed with an effortless art of citation (pp. 114, 233). The unconscious is assimilated into an easily “accessed” logic, the latter effortlessly “logging in” to the former. The redesign of the Columbian quincentenary indirectly ratifies some of the modes of control that flexible capitalism seeks to impose upon the unconscious. These four points require greater space of exchange in the rich and problematic dialogue that informs Ulmer’s stunning performance of theory. Tom Conley University of Minnesota Copyright © 1995 The Johns Hopkins University Press